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_12471725": {
"type": "attachments",
"id": "arts_12471725",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12471725",
"found": true
},
"parent": 12471334,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-560x372.jpg",
"width": 560,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342.jpg",
"width": 560,
"height": 315
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/ATpre7_lr-e1481531252342-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1481531029,
"modified": 1481531288,
"caption": "(l to r) Adi (Ncuti Gatwa) and Harry (Nandi Bhebhe) in Kneehigh's production of '946: The Amazing Story of Adolphus Tips' at the Berkeley Rep.",
"description": "(l to r) Adi (Ncuti Gatwa) and Harry (Nandi Bhebhe) in Kneehigh's production of '946: The Amazing Story of Adolphus Tips' at the Berkeley Rep.",
"title": "atpre7_lr",
"credit": "Photo: Steve Tanner",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12474652": {
"type": "attachments",
"id": "arts_12474652",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12474652",
"found": true
},
"parent": 12474047,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Hamilton-Line-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1481585187,
"modified": 1481585289,
"caption": "People, many who have been there for days, wait in line with dozens of others for tickets for the popular Broadway show Hamilton in New York City. ",
"description": "People, many who have been there for days, wait in line with dozens of others for tickets for the popular Broadway show Hamilton in New York City. ",
"title": "Award-Winning Musical \"Hamilton\" Draws Throngs To Broadway",
"credit": "Photo: Spencer Platt/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12424668": {
"type": "attachments",
"id": "arts_12424668",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12424668",
"found": true
},
"parent": 12423645,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-520x314.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 314
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-160x97.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 97
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-960x580.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 580
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-375x226.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 226
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208.jpg",
"width": 1365,
"height": 824
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-1020x616.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 616
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-1180x712.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 712
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-800x483.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 483
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-1920x2880.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2880
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-1180x712.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 712
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-1920x2880.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2880
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-768x464.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 464
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Joyce-DiDonato_In-War-Peace_promo-picture_Brooke-Shaden-e1480638899208-240x145.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 145
}
},
"publishDate": 1480638819,
"modified": 1480643039,
"caption": "Joyce DiDonato will sings songs about war and peace in two Bay Area concerts.",
"description": "Joyce DiDonato will sings songs about war and peace in two Bay Area concerts",
"title": "Joyce DiDonato will sings songs about war and peace in two Bay Area concerts",
"credit": "Photo: Brooke Shaden",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12421442": {
"type": "attachments",
"id": "arts_12421442",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12421442",
"found": true
},
"parent": 12421230,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/Circusstrongman1-e1480580990943-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1480580723,
"modified": 1480580848,
"caption": "Ugo Laffolay will get higher and higher in Cirque du Soleil's 'Luzia.'",
"description": "Ugo Laffolay will get higher and higher in Cirque du Soleil's 'Luzia.'",
"title": "circusstrongman1",
"credit": "Photo: Courtesy of the Company",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12419658": {
"type": "attachments",
"id": "arts_12419658",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12419658",
"found": true
},
"parent": 12419647,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1480551530,
"modified": 1480551541,
"caption": "Presale tickets for 'Hamilton' in San Francisco go on sale Dec. 2.",
"description": "Presale tickets for 'Hamilton' in San Francisco go on sale Dec. 2.",
"title": "hamilton-main-rev2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12418804": {
"type": "attachments",
"id": "arts_12418804",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12418804",
"found": true
},
"parent": 12418801,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-520x296.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 296
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-160x91.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 91
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-960x546.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 546
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-375x213.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 213
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112.jpg",
"width": 1514,
"height": 861
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1020x580.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 580
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1180x671.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 671
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-800x455.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 455
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1180x671.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 671
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-768x437.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 437
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-240x136.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 136
}
},
"publishDate": 1480534986,
"modified": 1480546212,
"caption": "Performers in 'Luzia,' the Cirque du Soleil show in San Francisco.",
"description": "Performers in 'Luzia,' the Cirque du Soleil show in San Francisco",
"title": "Performers in 'Luzia,' the Cirque du Soleil show in San Francisco",
"credit": "Photo: Courtesy of Cirque du Soleil",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"about_7897": {
"type": "attachments",
"id": "about_7897",
"meta": {
"index": "attachments_1716263798",
"site": "about",
"id": "7897",
"found": true
},
"parent": 7894,
"imgSizes": {
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-375x255.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 255
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live.jpg",
"width": 470,
"height": 320
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-240x163.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 163
}
},
"publishDate": 1480530132,
"modified": 1480530151,
"caption": null,
"description": null,
"title": "snap-judement-live",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12381802": {
"type": "attachments",
"id": "arts_12381802",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12381802",
"found": true
},
"parent": 12381231,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-520x293.png",
"width": 520,
"mimeType": "image/png",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-1024x576.png",
"width": 1024,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-960x541.png",
"width": 960,
"mimeType": "image/png",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-375x211.png",
"width": 375,
"mimeType": "image/png",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603.png",
"width": 967,
"height": 545
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-1020x700.png",
"width": 1020,
"mimeType": "image/png",
"height": 700
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-800x451.png",
"width": 800,
"mimeType": "image/png",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-768x433.png",
"width": 768,
"mimeType": "image/png",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-240x135.png",
"width": 240,
"mimeType": "image/png",
"height": 135
}
},
"publishDate": 1479850255,
"modified": 1479943100,
"caption": "Poet and rapper George Watsky.",
"description": "Poet and rapper George Watsky.",
"title": "Poet and rapper George Watsky.",
"credit": "Photo: Elanor Stills, Courtesy of George Watsky",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12385794": {
"type": "attachments",
"id": "arts_12385794",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12385794",
"found": true
},
"parent": 12385793,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384.jpg",
"width": 638,
"height": 359
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1479927030,
"modified": 1479927089,
"caption": "Here Lies Love was suposed to come to the American Conservatory Theater in June",
"description": "Here Lies Love was suposed to come to the American Conservatory Theater in June",
"title": "Here Lies Love was suposed to come to the American Conservatory Theater in June",
"credit": "Photo: Courtesy of Public Theater",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12368330": {
"type": "attachments",
"id": "arts_12368330",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12368330",
"found": true
},
"parent": 12368326,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-520x325.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 325
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-960x600.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 600
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-375x234.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 234
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube.jpg",
"width": 1110,
"height": 694
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-240x150.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 150
}
},
"publishDate": 1479593376,
"modified": 1479593455,
"caption": "Brandon Victor Dixon, who plays the role of Aaron Burr in 'Hamilton,' addresses Vice President-Elect Mike Pence on Nov. 18, 2016.",
"description": "Brandon Victor Dixon, who plays the role of Aaron Burr in 'Hamilton,' addresses Vice President-Elect Mike Pence on Nov. 18, 2016.",
"title": "hamiltonyoutube",
"credit": "YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12359545": {
"type": "attachments",
"id": "arts_12359545",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12359545",
"found": true
},
"parent": 12358960,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-520x285.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 285
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-160x88.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-960x525.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 525
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-375x205.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 205
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279.jpg",
"width": 2448,
"height": 1340
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1020x558.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 558
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1180x646.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 646
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-800x438.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 438
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1920x1051.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1051
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1180x646.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 646
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1920x1051.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1051
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-768x420.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 420
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-240x131.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 131
}
},
"publishDate": 1479422760,
"modified": 1479423018,
"caption": "Jia Taylor and Kehinde Koyejo appear as Mary and Blondelle in Word for Word's production of 'All Aunt Hagar's Children' at Z Space ",
"description": "Jia Taylor and Kehinde Koyejo appear as Mary and Blondelle in Word for Word's production of 'All Aunt Hagar's Children' at Z Space ",
"title": "Jia Taylor and Kehinde Koyejo appear as Mary and Blondelle in Word for Word's production of 'All Aunt Hagar's Children' at Z Space",
"credit": "Photo: Mel Solomon/Word for Word",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12327634": {
"type": "attachments",
"id": "arts_12327634",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12327634",
"found": true
},
"parent": 12327437,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best.jpg",
"width": 1080,
"height": 608
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1478826545,
"modified": 1478846121,
"caption": "Jasmine Johnson, a U.S. Navy veteran, performs in \"Stand Ground\" at CounterPulse.",
"description": "Jasmine Johnson, a U.S. Navy veteran, performs in \"Stand Ground\" at CounterPulse.",
"title": "standgroundfeaturedimage_best",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_12327437": {
"type": "authors",
"id": "byline_arts_12327437",
"meta": {
"override": true
},
"slug": "byline_arts_12327437",
"name": "Mike Seely",
"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": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"onqblog": {
"type": "authors",
"id": "6626",
"meta": {
"index": "authors_1716337520",
"id": "6626",
"found": true
},
"name": "On KQED",
"firstName": "On",
"lastName": "KQED",
"slug": "onqblog",
"email": "facebook@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/242146e34ab31d67f77a595e2ccd81f3c43359ca298ca5de24b0d8f4ed0a8834?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "about",
"roles": [
"editor"
]
},
{
"site": "pressroom",
"roles": [
"editor"
]
}
],
"headData": {
"title": "On KQED | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/242146e34ab31d67f77a595e2ccd81f3c43359ca298ca5de24b0d8f4ed0a8834?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/242146e34ab31d67f77a595e2ccd81f3c43359ca298ca5de24b0d8f4ed0a8834?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/onqblog"
},
"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": 12.286901
},
"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": 50
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=theater",
"seeMore": false,
"paginated": true,
"page": 50
}
},
{
"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_12471334": {
"type": "posts",
"id": "arts_12471334",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12471334",
"score": null,
"sort": [
1481817608000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1481817608,
"format": "standard",
"title": "Why Holiday Plays are Often as Perilous as the Holiday Season",
"headTitle": "Why Holiday Plays are Often as Perilous as the Holiday Season | KQED",
"content": "\u003cp>The holiday tale is a tricky beast. We need stories that promise warmth and comfort — an escape from the cold, dark days of winter. And yet they also have to have a bite to them, a recognition that death is always a hair’s breath away. \u003cem>The Wizard of Oz\u003c/em> would mean nothing without the threat of the Witch killing Dorothy; and \u003cem>It’s a Wonderful Life\u003c/em> is the story of a good man one slight step away from suicide.\u003c/p>\n\u003cp>These are the tensions that theater companies must navigate when producing holiday shows. Audiences are wary of simple happiness, and yet not particularly eager to embrace the brutal nature of the the season. As three recent productions — \u003cem>Sons of the Prophet\u003c/em>, \u003cem>Paradise Street\u003c/em>, and \u003cem>946: The Amazing Story of Adolphous Tips\u003c/em> — show, that balance is delicate and not at all easy to achieve.\u003c/p>\n\u003ch3>Symbolism-heavy, sitcom-laced ‘Sons of the Prophet’\u003c/h3>\n\u003cp>Receiving its Bay Area premiere in a well acted production at San Francisco’s New Conservatory Theatre Center, Stephen Karam’s much lauded \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Sons-of-the-Prophet\" target=\"_blank\" rel=\"noopener\">\u003cem>Sons of the Prophet \u003c/em>\u003c/a>takes it as a given that we are all the children of chaos and despair. He fills his play with soothsayers, storms, unrequited love, threats of illness, economic uncertainty, a craven journalist, and game attempts to forgive the failures of good and bad alike.\u003c/p>\n\u003cfigure id=\"attachment_12471527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg\" alt=\"Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their downfall in New Conservatory Theatre's production of 'Sons of the Prophet' by Stephen Karam.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their troubles in the New Conservatory Theatre’s production of ‘Sons of the Prophet’ by Stephen Karam. \u003ccite>(Photo: Lois Tema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But most importantly, there is the death of a beloved father and brother, and the fear that after that nothing will ever be right again. As we might expect and enjoy, his sons — Joseph and Charles — and their Uncle Bill struggle to both reconstitute and remain a family. The stable Joseph is uninsured and suffering from nerve damage, Bill is aging fast, and the delightful 18-year old Charles is still in need of care, both emotionally and economically.\u003c/p>\n\u003cp>Their problems are nagging and mundane. But the Pennsylvanian landscape of the play’s setting, littered with an Old Testament’s worth of cities — Bethlehem, Jordan, Egypt, and Lebanon — bristles with a somber magic. Karam suggests that all this has happened before, that we walk in our ancestors’ footsteps, and that our memories of them are both painful and soothing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel the symbolic force of the writing and you’re ready to be swept up by it. Unfortunately, everything is stunted by the playwright’s reliance on sitcom aesthetics. Veering between snappy jokes and sentimental lessons, the force of the drama never takes root. It drifts instead of builds. So despite the winning cast, we can’t quite feel the bite of despair or the warmth of simple kindness.\u003c/p>\n\u003ch3>‘Paradise Street’ energetic, yet untempered\u003c/h3>\n\u003cp>Horror master Clive Barker (\u003cem>Hellraiser\u003c/em>) might seem an unlikely Christmas playwright, and yet the creator of the murderous “Pinhead” certainly understands the mayhem lurking behind holiday cheer. His \u003ca href=\"http://www.theexit.org/paradise-street/\" target=\"_blank\" rel=\"noopener\">\u003cem>Paradise Street\u003c/em>\u003c/a>, receiving its Bay Area premiere under Stuart Bousel’s uneven direction at San Francisco’s Exit Theatre, is a modern take on Ben Jonson’s city comedies, and at its best has the energy and beat of the street.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theatre’s production of ‘Paradise Street’ by Clive Barker. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a tale of two brothers who reunite on Christmas eve. The elder, Bonner, is a soldier and the unwise owner of a couple of grenades. The younger, Quinn, is sweet and a jazz musician of no talent, though it doesn’t seem to bother him much. As the boys bumble their way through the night, their adventures are offset by a host of characters with deeper concerns and fears.\u003c/p>\n\u003cp>A homeless Irishman, Mulrooney, has visions of his own death; a lonely, good-natured social worker, Jude, dreams of a better world, both for her clients, and, rather mystically, the universe; and Queen Elizabeth — in full virgin warrior splendor — pops up from the past with an an out of control ape and a regal sense of justice.\u003c/p>\n\u003cp>Barker gets the outlandish beauty of theater and the volatile mixture of hope and despair that Christmas brings. But like Bousel’s production, the play is untempered. Everything is pitched to maximum effect without a corresponding sense of quiet and warmth. And that’s when you know that horror can only take you so far.\u003c/p>\n\u003ch3>‘946: The Amazing Story of Adolphus Tips’ is curiously distancing\u003c/h3>\n\u003cp>British company Kneehigh’s production of \u003ca href=\"http://www.berkeleyrep.org/season/1617/10656.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>946: The Amazing Story of Adolphus Tips\u003c/em>\u003c/a> at Berkeley Repertory Theatre, directed by Emma Rice and co-adapted for the stage by Rice and author Michael Morpurgo from his children’s story, shares similar ambitions to \u003cem>Sons of the Prophet\u003c/em> and \u003cem>Paradise Street. \u003c/em>It is quite self-consciously aware of the strange mixture of warmth and brutality that audiences seem to seek out in the winter.\u003c/p>\n\u003cfigure id=\"attachment_12471729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12471729\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg\" alt=\"Lily (Katy Owen) reunites with her cat in Kneehigh's production of '946: The Amazing Story of Adophus Tips' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-520x293.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Lily (Katy Owen) reunites with her cat in Kneehigh’s production of ‘946: The Amazing Story of Adophus Tips’ at the Berkeley Rep. \u003ccite>(Photo: Steve Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, Rice’s take on Morpurgo ‘s tale of 11-year old Lily, her missing cat, and the second world war’s effect on the out-of-the-way English village of Slapton, is so frenzied and intent on making every moment memorable, that the production sacrifices reflection and storytelling for kitsch and pizazz. Rice gives us the requisite blues band, farm animal puppets, overly broad and cutesy acting, and a narrative strategy designed to shed tears every five minutes.\u003c/p>\n\u003cp>The effect of all of this is curiously distancing. We’re asked to react with great emotion over and over again, as the play rushes from one dramatic event to the next. When the husband of the adult Lily dies in the first few scenes, the outsized level of significance of his death is strange. As the cast mournfully sings to “let him go . . . he’s not gone, just gone away,” I felt as if I’d been dragged to a stranger’s funeral.\u003c/p>\n\u003cp>There’s nothing wrong in having characters grieve over a minor one. But Lily’s dead husband is so sketchily presented and irrelevant to the plot that you feel manipulated by the demand to care. And that’s the effect of the whole production — a headlong race to the big moments no matter what. So the many deaths in the play feel haphazard and meaningless. In \u003cem>946\u003c/em>, the loss of a father, husband, comrade, or battalion of innocent men is merely an opportunity to sing and dance in nifty ways.\u003c/p>\n\u003cp>When Rice evokes Bertolt Brecht as both an aesthetic forefather and a spiritual aide — “In the dark times/Will there also be singing?” — it’s hard to tell whether she’s cynical or stupid. And that goes for the call outs to Maya Angelou and Martin Luther King Jr., too. It’s just fluff where content should be.\u003c/p>\n\u003cp>There’s a massive amount of talent on stage, from the actors to the designers, but it’s all in the service of a distasteful infantilizing of the audience. The most telling moment of the evening happens in the middle of the “staged” curtain call, where the actors force the entire theater into a goofy dance-along. That’s what clowns do to children at birthday parties. It’s a disservice to the reality of the world we live in and all those who try to bring true light to the holidays.\u003c/p>\n\u003cp>And so as I was leaving the theater I thought of an elementary school Christmas pageant I’d just seen, and how the story of Christ’s birth catches the balance of what these three pieces are struggling to achieve. Mary and Joseph’s journey to the safety of the manger is sharpened and deepened by the weather. The unrelenting nature of the season is leavened by the birth of a child. The nativity harmonizes these extremes and presents them as one and the same experience, a narrative trick as magical as the story it tells.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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>\u003cem>‘Sons of the Prophet’ runs through Sunday, Dec. 18 at the New Conservatory Theatre Center in San Francisco. For tickets and information \u003ca href=\"http://www.nctcsf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Paradise Street’ runs through Saturday, Dec. 17 at the Exit Theatre in San Francisco. For tickets and information \u003ca href=\"http://www.theexit.org/paradise-street/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘946: The Amazing Story of Adolphus Tips’ runs through Sunday, Jan. 15 at Berkeley Repertory Theatre in Berkeley. For tickets and information \u003ca href=\"http://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1574,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705032187,
"excerpt": "'Sons of the Prophet,' 'Paradise Street,' and '946: The Amazing Story of Adolphous Tips' show that the balance between seasonal sweetness and wintry bite is delicate and not at all easy to achieve.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Sons of the Prophet,' 'Paradise Street,' and '946: The Amazing Story of Adolphous Tips' show that the balance between seasonal sweetness and wintry bite is delicate and not at all easy to achieve.",
"title": "Why Holiday Plays are Often as Perilous as the Holiday Season | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why Holiday Plays are Often as Perilous as the Holiday Season",
"datePublished": "2016-12-15T08:00:08-08:00",
"dateModified": "2024-01-11T20:03:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "why-holiday-plays-are-often-as-perilous-as-the-holiday-season",
"status": "publish",
"sticky": false,
"path": "/arts/12471334/why-holiday-plays-are-often-as-perilous-as-the-holiday-season",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The holiday tale is a tricky beast. We need stories that promise warmth and comfort — an escape from the cold, dark days of winter. And yet they also have to have a bite to them, a recognition that death is always a hair’s breath away. \u003cem>The Wizard of Oz\u003c/em> would mean nothing without the threat of the Witch killing Dorothy; and \u003cem>It’s a Wonderful Life\u003c/em> is the story of a good man one slight step away from suicide.\u003c/p>\n\u003cp>These are the tensions that theater companies must navigate when producing holiday shows. Audiences are wary of simple happiness, and yet not particularly eager to embrace the brutal nature of the the season. As three recent productions — \u003cem>Sons of the Prophet\u003c/em>, \u003cem>Paradise Street\u003c/em>, and \u003cem>946: The Amazing Story of Adolphous Tips\u003c/em> — show, that balance is delicate and not at all easy to achieve.\u003c/p>\n\u003ch3>Symbolism-heavy, sitcom-laced ‘Sons of the Prophet’\u003c/h3>\n\u003cp>Receiving its Bay Area premiere in a well acted production at San Francisco’s New Conservatory Theatre Center, Stephen Karam’s much lauded \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Sons-of-the-Prophet\" target=\"_blank\" rel=\"noopener\">\u003cem>Sons of the Prophet \u003c/em>\u003c/a>takes it as a given that we are all the children of chaos and despair. He fills his play with soothsayers, storms, unrequited love, threats of illness, economic uncertainty, a craven journalist, and game attempts to forgive the failures of good and bad alike.\u003c/p>\n\u003cfigure id=\"attachment_12471527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg\" alt=\"Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their downfall in New Conservatory Theatre's production of 'Sons of the Prophet' by Stephen Karam.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their troubles in the New Conservatory Theatre’s production of ‘Sons of the Prophet’ by Stephen Karam. \u003ccite>(Photo: Lois Tema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But most importantly, there is the death of a beloved father and brother, and the fear that after that nothing will ever be right again. As we might expect and enjoy, his sons — Joseph and Charles — and their Uncle Bill struggle to both reconstitute and remain a family. The stable Joseph is uninsured and suffering from nerve damage, Bill is aging fast, and the delightful 18-year old Charles is still in need of care, both emotionally and economically.\u003c/p>\n\u003cp>Their problems are nagging and mundane. But the Pennsylvanian landscape of the play’s setting, littered with an Old Testament’s worth of cities — Bethlehem, Jordan, Egypt, and Lebanon — bristles with a somber magic. Karam suggests that all this has happened before, that we walk in our ancestors’ footsteps, and that our memories of them are both painful and soothing.\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>You can feel the symbolic force of the writing and you’re ready to be swept up by it. Unfortunately, everything is stunted by the playwright’s reliance on sitcom aesthetics. Veering between snappy jokes and sentimental lessons, the force of the drama never takes root. It drifts instead of builds. So despite the winning cast, we can’t quite feel the bite of despair or the warmth of simple kindness.\u003c/p>\n\u003ch3>‘Paradise Street’ energetic, yet untempered\u003c/h3>\n\u003cp>Horror master Clive Barker (\u003cem>Hellraiser\u003c/em>) might seem an unlikely Christmas playwright, and yet the creator of the murderous “Pinhead” certainly understands the mayhem lurking behind holiday cheer. His \u003ca href=\"http://www.theexit.org/paradise-street/\" target=\"_blank\" rel=\"noopener\">\u003cem>Paradise Street\u003c/em>\u003c/a>, receiving its Bay Area premiere under Stuart Bousel’s uneven direction at San Francisco’s Exit Theatre, is a modern take on Ben Jonson’s city comedies, and at its best has the energy and beat of the street.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theatre’s production of ‘Paradise Street’ by Clive Barker. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a tale of two brothers who reunite on Christmas eve. The elder, Bonner, is a soldier and the unwise owner of a couple of grenades. The younger, Quinn, is sweet and a jazz musician of no talent, though it doesn’t seem to bother him much. As the boys bumble their way through the night, their adventures are offset by a host of characters with deeper concerns and fears.\u003c/p>\n\u003cp>A homeless Irishman, Mulrooney, has visions of his own death; a lonely, good-natured social worker, Jude, dreams of a better world, both for her clients, and, rather mystically, the universe; and Queen Elizabeth — in full virgin warrior splendor — pops up from the past with an an out of control ape and a regal sense of justice.\u003c/p>\n\u003cp>Barker gets the outlandish beauty of theater and the volatile mixture of hope and despair that Christmas brings. But like Bousel’s production, the play is untempered. Everything is pitched to maximum effect without a corresponding sense of quiet and warmth. And that’s when you know that horror can only take you so far.\u003c/p>\n\u003ch3>‘946: The Amazing Story of Adolphus Tips’ is curiously distancing\u003c/h3>\n\u003cp>British company Kneehigh’s production of \u003ca href=\"http://www.berkeleyrep.org/season/1617/10656.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>946: The Amazing Story of Adolphus Tips\u003c/em>\u003c/a> at Berkeley Repertory Theatre, directed by Emma Rice and co-adapted for the stage by Rice and author Michael Morpurgo from his children’s story, shares similar ambitions to \u003cem>Sons of the Prophet\u003c/em> and \u003cem>Paradise Street. \u003c/em>It is quite self-consciously aware of the strange mixture of warmth and brutality that audiences seem to seek out in the winter.\u003c/p>\n\u003cfigure id=\"attachment_12471729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12471729\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg\" alt=\"Lily (Katy Owen) reunites with her cat in Kneehigh's production of '946: The Amazing Story of Adophus Tips' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-520x293.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Lily (Katy Owen) reunites with her cat in Kneehigh’s production of ‘946: The Amazing Story of Adophus Tips’ at the Berkeley Rep. \u003ccite>(Photo: Steve Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, Rice’s take on Morpurgo ‘s tale of 11-year old Lily, her missing cat, and the second world war’s effect on the out-of-the-way English village of Slapton, is so frenzied and intent on making every moment memorable, that the production sacrifices reflection and storytelling for kitsch and pizazz. Rice gives us the requisite blues band, farm animal puppets, overly broad and cutesy acting, and a narrative strategy designed to shed tears every five minutes.\u003c/p>\n\u003cp>The effect of all of this is curiously distancing. We’re asked to react with great emotion over and over again, as the play rushes from one dramatic event to the next. When the husband of the adult Lily dies in the first few scenes, the outsized level of significance of his death is strange. As the cast mournfully sings to “let him go . . . he’s not gone, just gone away,” I felt as if I’d been dragged to a stranger’s funeral.\u003c/p>\n\u003cp>There’s nothing wrong in having characters grieve over a minor one. But Lily’s dead husband is so sketchily presented and irrelevant to the plot that you feel manipulated by the demand to care. And that’s the effect of the whole production — a headlong race to the big moments no matter what. So the many deaths in the play feel haphazard and meaningless. In \u003cem>946\u003c/em>, the loss of a father, husband, comrade, or battalion of innocent men is merely an opportunity to sing and dance in nifty ways.\u003c/p>\n\u003cp>When Rice evokes Bertolt Brecht as both an aesthetic forefather and a spiritual aide — “In the dark times/Will there also be singing?” — it’s hard to tell whether she’s cynical or stupid. And that goes for the call outs to Maya Angelou and Martin Luther King Jr., too. It’s just fluff where content should be.\u003c/p>\n\u003cp>There’s a massive amount of talent on stage, from the actors to the designers, but it’s all in the service of a distasteful infantilizing of the audience. The most telling moment of the evening happens in the middle of the “staged” curtain call, where the actors force the entire theater into a goofy dance-along. That’s what clowns do to children at birthday parties. It’s a disservice to the reality of the world we live in and all those who try to bring true light to the holidays.\u003c/p>\n\u003cp>And so as I was leaving the theater I thought of an elementary school Christmas pageant I’d just seen, and how the story of Christ’s birth catches the balance of what these three pieces are struggling to achieve. Mary and Joseph’s journey to the safety of the manger is sharpened and deepened by the weather. The unrelenting nature of the season is leavened by the birth of a child. The nativity harmonizes these extremes and presents them as one and the same experience, a narrative trick as magical as the story it tells.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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>\u003cem>‘Sons of the Prophet’ runs through Sunday, Dec. 18 at the New Conservatory Theatre Center in San Francisco. For tickets and information \u003ca href=\"http://www.nctcsf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Paradise Street’ runs through Saturday, Dec. 17 at the Exit Theatre in San Francisco. For tickets and information \u003ca href=\"http://www.theexit.org/paradise-street/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘946: The Amazing Story of Adolphus Tips’ runs through Sunday, Jan. 15 at Berkeley Repertory Theatre in Berkeley. For tickets and information \u003ca href=\"http://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12471334/why-holiday-plays-are-often-as-perilous-as-the-holiday-season",
"authors": [
"8668"
],
"categories": [
"arts_967"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_12471725",
"label": "arts"
},
"arts_12474047": {
"type": "posts",
"id": "arts_12474047",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12474047",
"score": null,
"sort": [
1481663014000
]
},
"guestAuthors": [],
"slug": "thousands-line-up-online-and-in-person-for-hamilton-tickets",
"title": "Thousands Line Up Online and In Person for 'Hamilton' Tickets",
"publishDate": 1481663014,
"format": "standard",
"headTitle": "Thousands Line Up Online and In Person for ‘Hamilton’ Tickets | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Tickets for the San Francisco performances of the hit musical \u003ci>Hamilton\u003c/i> became available to the general public Monday, tethering tens of thousands of determined buyers to the their computers and sending hundreds more to stand in lines in an attempt to buy the coveted seats at the theater’s box office.\u003c/p>\n\u003cp>Local news station KGO sent its \u003ca href=\"http://abc7news.com/entertainment/hundreds-stand-in-long-line-ahead-of-hamilton-in-san-francisco/1652584/\" target=\"_blank\" rel=\"noopener\">Sky 7D helicopter\u003c/a> to shoot the blocks-long line that had formed that morning down Market street to the Orpheum Theatre, which is hosting the musical’s run from Mar. 10 – Aug. 5, 2017. A\u003ca href=\"http://www.sfgate.com/bayarea/article/Hamilton-tickets-San-Francisco-digital-line-SHNSF-10791060.php\" target=\"_blank\" rel=\"noopener\">lmost 100,000 people\u003c/a> were in the company’s digital queue when online sales opened at 10am.\u003c/p>\n\u003cp>Tickets for the Tony Award-winning show were being sold $100-$524 by the theater. But by Monday evening the only seats available were singles, and the majority of these \u003ca href=\"https://twitter.com/shnsf/status/808479954056814592\" target=\"_blank\" rel=\"noopener\">were in the orchestra\u003c/a>, the most expensive section of the auditorium.\u003c/p>\n\u003cp>A pre-sale opportunity the previous Monday saw a similar flurry of excitement, with the theater’s digital queue reaching \u003ca href=\"http://www.sfgate.com/news/article/More-than-79000-in-Hamilton-ticket-queue-10695262.php\" target=\"_blank\" rel=\"noopener\">80,000\u003c/a> by that afternoon. Hopeful buyers included Kristin Scheel, a writer in San Francisco, who waited for hours to buy tickets, only to find options limited.\u003c/p>\n\u003cp>“None of the days during the five months had really any tickets available,” Scheel says. “I was clicking ‘buy’ on random days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scheel says she went to the website right at 10am, which gave her a number around 14,000. Apparently she made out better than her friend, who joined the line around 48,000, only to have to leave the site in order to find an American Express card. When she logged back on soon after, she was around 72,000th in line.\u003c/p>\n\u003cp>“I have no doubt we were competing with people all over,” Scheel says. “My friend was in Colorado trying to be tickets with her friends. And her friends got tickets before I did.”\u003c/p>\n\u003cp>While Scheel was waiting by her computer to purchase pre-sale tickets, a contractor working on her house went on his phone and looked on the secondary market. Scheel says he found some for the same night that she wanted, without the wait, but for $60 more a ticket.\u003c/p>\n\u003cp>“He was like, ‘what day do you want to go?,” she says. “The resale sites went up within a half-hour of the tickets going on sale.”\u003c/p>\n\u003cp>After this Monday’s general release, starting prices for tickets on the secondary market were $900, and reached as much as $3,000.\u003c/p>\n\u003cp>If you don’t have — or want to spend — that kind of cash, another option is signing up for the daily raffle during the musical’s run; winners receive tickets for that night’s show for just $10 apiece.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Scheel’s attempt to buy tickets was ultimately successful, though she says she didn’t even end up buying one for herself — only for her kids. Her daughter has been listening to the soundtrack constantly in the family car, and Scheel intends to give the tickets to her children as Christmas presents. “This was nuts though,” Scheel says. “It was like kicking a wasps’ nest.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "The chance to finally buy tickets for the hit musical sent tens of thousands scrambling to their computers.",
"status": "publish",
"parent": 0,
"modified": 1726708723,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 567
},
"headData": {
"title": "Thousands Line Up Online and In Person for 'Hamilton' Tickets | KQED",
"description": "The chance to finally buy tickets for the hit musical sent tens of thousands scrambling to their computers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Thousands Line Up Online and In Person for 'Hamilton' Tickets",
"datePublished": "2016-12-13T13:03:34-08:00",
"dateModified": "2024-09-18T18:18:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12474047/thousands-line-up-online-and-in-person-for-hamilton-tickets",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tickets for the San Francisco performances of the hit musical \u003ci>Hamilton\u003c/i> became available to the general public Monday, tethering tens of thousands of determined buyers to the their computers and sending hundreds more to stand in lines in an attempt to buy the coveted seats at the theater’s box office.\u003c/p>\n\u003cp>Local news station KGO sent its \u003ca href=\"http://abc7news.com/entertainment/hundreds-stand-in-long-line-ahead-of-hamilton-in-san-francisco/1652584/\" target=\"_blank\" rel=\"noopener\">Sky 7D helicopter\u003c/a> to shoot the blocks-long line that had formed that morning down Market street to the Orpheum Theatre, which is hosting the musical’s run from Mar. 10 – Aug. 5, 2017. A\u003ca href=\"http://www.sfgate.com/bayarea/article/Hamilton-tickets-San-Francisco-digital-line-SHNSF-10791060.php\" target=\"_blank\" rel=\"noopener\">lmost 100,000 people\u003c/a> were in the company’s digital queue when online sales opened at 10am.\u003c/p>\n\u003cp>Tickets for the Tony Award-winning show were being sold $100-$524 by the theater. But by Monday evening the only seats available were singles, and the majority of these \u003ca href=\"https://twitter.com/shnsf/status/808479954056814592\" target=\"_blank\" rel=\"noopener\">were in the orchestra\u003c/a>, the most expensive section of the auditorium.\u003c/p>\n\u003cp>A pre-sale opportunity the previous Monday saw a similar flurry of excitement, with the theater’s digital queue reaching \u003ca href=\"http://www.sfgate.com/news/article/More-than-79000-in-Hamilton-ticket-queue-10695262.php\" target=\"_blank\" rel=\"noopener\">80,000\u003c/a> by that afternoon. Hopeful buyers included Kristin Scheel, a writer in San Francisco, who waited for hours to buy tickets, only to find options limited.\u003c/p>\n\u003cp>“None of the days during the five months had really any tickets available,” Scheel says. “I was clicking ‘buy’ on random days.”\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>Scheel says she went to the website right at 10am, which gave her a number around 14,000. Apparently she made out better than her friend, who joined the line around 48,000, only to have to leave the site in order to find an American Express card. When she logged back on soon after, she was around 72,000th in line.\u003c/p>\n\u003cp>“I have no doubt we were competing with people all over,” Scheel says. “My friend was in Colorado trying to be tickets with her friends. And her friends got tickets before I did.”\u003c/p>\n\u003cp>While Scheel was waiting by her computer to purchase pre-sale tickets, a contractor working on her house went on his phone and looked on the secondary market. Scheel says he found some for the same night that she wanted, without the wait, but for $60 more a ticket.\u003c/p>\n\u003cp>“He was like, ‘what day do you want to go?,” she says. “The resale sites went up within a half-hour of the tickets going on sale.”\u003c/p>\n\u003cp>After this Monday’s general release, starting prices for tickets on the secondary market were $900, and reached as much as $3,000.\u003c/p>\n\u003cp>If you don’t have — or want to spend — that kind of cash, another option is signing up for the daily raffle during the musical’s run; winners receive tickets for that night’s show for just $10 apiece.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Scheel’s attempt to buy tickets was ultimately successful, though she says she didn’t even end up buying one for herself — only for her kids. Her daughter has been listening to the soundtrack constantly in the family car, and Scheel intends to give the tickets to her children as Christmas presents. “This was nuts though,” Scheel says. “It was like kicking a wasps’ nest.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12474047/thousands-line-up-online-and-in-person-for-hamilton-tickets",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12474652",
"label": "arts"
},
"arts_12423645": {
"type": "posts",
"id": "arts_12423645",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12423645",
"score": null,
"sort": [
1480644087000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-an-update-on-pride-and-prejudice-songs-of-war-and-peace-and-seeking-shelter",
"title": "Cy and David's Picks: An Update on 'Pride and Prejudice,' Songs of War and Peace, and Seeking Shelter",
"publishDate": 1480644087,
"format": "standard",
"headTitle": "Cy and David’s Picks: An Update on ‘Pride and Prejudice,’ Songs of War and Peace, and Seeking Shelter | KQED",
"labelTerm": {
"site": "arts"
},
"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>[soundcloud url=”https://api.soundcloud.com/tracks/295780691″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The holiday season and circus are deeply connected for me, because this is the time of year when the late, great \u003ca href=\"http://www.foundsf.org/index.php?title=Pickle_Family_Circus:_Origins_and_Influence\" target=\"_blank\" rel=\"noopener\">Pickle Family Circus \u003c/a>always presented a show. But we have some terrific replacements this year, deeply influenced by the Pickles. My first choice is the scrappy and intimate \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts Center’s show \u003cem>Inversion\u003c/em>\u003c/a> in West Oakland, which we profiled a few weeks ago. But don’t overlook Cirque du Soleil’s gorgeous, extravagant and funny \u003cem>Luzia. \u003c/em>Just note that the death of stage technician Olivier Rochette on Tuesday night (Nov. 29) has forced the company to suspend performances for a few days. Now for this week’s show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pvtmGU1Co4E\u003c/p>\n\u003cp>\u003cstrong>Dec. 7: \u003c/strong>\u003ca href=\"http://www.handsomefamily.com/\" target=\"_blank\" rel=\"noopener\">The Handsome Family\u003c/a>’s Brett Sparks always sings a little off-key to my ear. But it’s in the same way folk-protest singer\u003ca href=\"https://en.wikipedia.org/wiki/Phil_Ochs\" target=\"_blank\" rel=\"noopener\"> Phil Ochs \u003c/a>was off; it doesn’t matter because the songs are so full of heart and humanity. He and his bandmate and wife Rennie (who writes the surreal, sometimes somber lyrics) got a huge boost when \u003ca href=\"http://www.hbo.com/true-detective\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>True Detective\u003c/em>\u003c/a> made their single “Far From Any Road” the theme song for the show’s first season. They live in Albuquerque, and don’t like to tour much, but they’ve got a 10th album with songs, Rennie says, about “things we cannot see,” and it’s terrific. Details for their show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/the-handsome-family-gamh-w-drunken-prayer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-SKjq1A-sVU\u003c/p>\n\u003cp>\u003cstrong>Dec. 5\u003c/strong>: Monday nights can be kind of depressing, with the work week stretching before us. But I have an antidote for this week: comedian Jackie Kashian. She’s a smart, funny woman who likes to gently poke white privilege and nerdiness. Her husband’s a game designer, and she hosts the podcast \u003cem>\u003ca href=\"http://tdf.libsyn.com/\" target=\"_blank\" rel=\"noopener\">The Dork Forest\u003c/a>, \u003c/em>a tribute to geeks and pop culture freaks. Details for her Monday night show at Doc’s Lab are \u003ca href=\"http://www.docslabsf.com/event/1320599-comedian-jackie-kashian-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>Cheap Thrill\u003c/strong>, with tickets just $12-$15.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HaU70Qeb0Cc\u003c/p>\n\u003cp>\u003cstrong>Dec. 2, 8 and 9: \u003c/strong>Comedian \u003ca href=\"https://www.lewisblack.com/\" target=\"_blank\" rel=\"noopener\">Lewis Black\u003c/a> nailed the dynamics of this past campaign season as well or better than any other commentator. And he’s a great relief valve for our own frustrations and anxieties, because he’s so righteously \u003cstrong>angry\u003c/strong> about it. As our producer Suzie Racho says, he looks a walking heart attack, so catch him before he self-destructs. Details here for his three Bay Area shows: Dec. 2 at the\u003ca href=\"http://concerts.livenation.com/event/1C005093CAE56029\" target=\"_blank\" rel=\"noopener\"> Masonic Auditorium in San Francisco\u003c/a>, Dec. 8 at the \u003ca href=\"http://www.uptowntheatrenapa.com/event/lewis-black-2/\" target=\"_blank\" rel=\"noopener\">Uptown Theater in Napa\u003c/a>, and Dec. 9 at the \u003ca href=\"https://goldenstatetheatre.showare.com/eventperformances.asp?evt=95\" target=\"_blank\" rel=\"noopener\">Golden State Theatre in Monterey\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PrJTmpt43hg\u003c/p>\n\u003cp>\u003cstrong>Dec. 2 and 4\u003c/strong>: Baroque composers wrestled with the same moral dilemmas as we do now. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Indian_Queen_(opera)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Indian Queen\u003c/em>\u003c/a>, Henry Purcell (1659-1695) asked “Why should men quarrel here where all possess as much as they can hope for by success?” Mezzo-soprano \u003ca href=\"http://joycedidonato.com/in-war-peace/\" target=\"_blank\" rel=\"noopener\">Joyce DiDonato\u003c/a> performs an excerpt from \u003cem>The Indian Queen\u003c/em> as part of a suite of songs on war and peace on her new CD and tour, inspired by the attacks on Paris a year ago. (Check out Steven Winn’s\u003ca href=\"http://www.sfchronicle.com/performance/article/Joyce-DiDonato-to-perform-In-War-and-Peace-10634769.php\" target=\"_blank\" rel=\"noopener\"> preview \u003c/a>for the show in the \u003cem>San Francisco Chronicle\u003c/em>.) She’s joined forces with the period-instrument ensemble Il Pomo d’Oro, stage director Ralf Pleger, choreographer-dancer Manuel Palazzo and costume designer Vivienne Westwood to create a thoroughly theatrical recital. Details for her show tonight at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/december-2016/joyce-didonato-and-il-pomo-doro\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for her Sunday afternoon concert at Zellerbach Hall in Berkeley \u003ca href=\"https://calperformances.org/performances/2016-17/early-music/joyce-didonato-il-pomo-doro-war-and-peace-harmony-through-music.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12424060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12424060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-800x450.jpg\" alt=\"'Miss Bennet: Christmas at Pemberley' features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss Bennet: Christmas at Pemberley’ features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer) \u003ccite>(Photo: Kevin Berne/Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Dec. 23\u003c/strong>: Last year, the Bay Area’s \u003ca href=\"http://laurengunderson.com/\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> was the second most-produced living playwright in the country. She’s prolific, profound, and often funny. She’s got a new show, co-written with \u003ca href=\"http://zff.org/announcements/margot-melcon-joins-zff/\" target=\"_blank\" rel=\"noopener\">Margot Melcon\u003c/a>, called \u003cem>Miss Bennet: Christmas at Pemberley\u003c/em>. It’s an update on Jane Austen’s \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride and Prejudice\u003c/em>\u003c/a>, and Gunderson says it’s her and Melcon’s stab at the perfect Christmas play — a witty love story, set during the Christmas season, blending sentiment and smarts. And yes, it’s a bit of an escape from the anxieties of this past election season. “But the day after the election, going into rehearsal,” Gunderson tells me by phone, “we realized this play is more appropriate in part because it is still rare to have a lot of women on stage not talking about men, but talking about their own futures, their own agency, their own ambitions, and their own hearts.” Details for \u003cem>Miss Bennet\u003c/em> at Marin Theatre Co. are \u003ca href=\"http://www.marintheatre.org/productions/miss-bennet-christmas-at-pemberly\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w1G_5cDlWeM\u003c/p>\n\u003cp>\u003cstrong>Dec. 8\u003c/strong>: \u003ca href=\"http://www.thesheltersmusic.com/\" target=\"_blank\" rel=\"noopener\">The Shelters\u003c/a> sound a little like the Byrds, the Beatles and a bit of the Allman Brothers all mixed together. Sebastian Harris, Josh Jove, Jacob Pillot, and Chase Simpson make classic rock ‘n’ roll, something we don’t really hear all that often these days. They also have an ace in the hole; their new album was produced by \u003ca href=\"http://www.tompetty.com/?frontpage=true\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a>, who was so impressed with the band that he produced their new album in his home studio. It’s very catchy stuff. Details for their Starline Social Club show are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2016/12/8/folk-yeah-presents-the-shelters\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. It’s another \u003cstrong>Cheap Thrill\u003c/strong>!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0SsrpAtpllk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2\u003c/strong>: We had to squeeze this in — Minna Choi and her \u003ca href=\"http://www.magikmagik.com/\" target=\"_blank\" rel=\"noopener\">Magik Magik Orchestra\u003c/a>, a team that has backed so many great pop recordings, are the stars for once. The show celebrates Choi’s new album, called \u003cem>Magik Magik. \u003c/em>Details for her show at the Swedish American Hall are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/magikmagik/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Joyce DiDonato, the Handsome Family, Lewis Black and 'Miss Bennet: Christmas at Pemberley' are just some of Cy Musiker and David Wiegand's picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726787291,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 1097
},
"headData": {
"title": "Cy and David's Picks: An Update on 'Pride and Prejudice,' Songs of War and Peace, and Seeking Shelter | KQED",
"description": "Joyce DiDonato, the Handsome Family, Lewis Black and 'Miss Bennet: Christmas at Pemberley' are just some of Cy Musiker and David Wiegand's picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: An Update on 'Pride and Prejudice,' Songs of War and Peace, and Seeking Shelter",
"datePublished": "2016-12-01T18:01:27-08:00",
"dateModified": "2024-09-19T16:08:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12423645/cy-and-davids-picks-an-update-on-pride-and-prejudice-songs-of-war-and-peace-and-seeking-shelter",
"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>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/295780691″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/295780691″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The holiday season and circus are deeply connected for me, because this is the time of year when the late, great \u003ca href=\"http://www.foundsf.org/index.php?title=Pickle_Family_Circus:_Origins_and_Influence\" target=\"_blank\" rel=\"noopener\">Pickle Family Circus \u003c/a>always presented a show. But we have some terrific replacements this year, deeply influenced by the Pickles. My first choice is the scrappy and intimate \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts Center’s show \u003cem>Inversion\u003c/em>\u003c/a> in West Oakland, which we profiled a few weeks ago. But don’t overlook Cirque du Soleil’s gorgeous, extravagant and funny \u003cem>Luzia. \u003c/em>Just note that the death of stage technician Olivier Rochette on Tuesday night (Nov. 29) has forced the company to suspend performances for a few days. Now for this week’s 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/pvtmGU1Co4E'\n title='//www.youtube.com/embed/pvtmGU1Co4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 7: \u003c/strong>\u003ca href=\"http://www.handsomefamily.com/\" target=\"_blank\" rel=\"noopener\">The Handsome Family\u003c/a>’s Brett Sparks always sings a little off-key to my ear. But it’s in the same way folk-protest singer\u003ca href=\"https://en.wikipedia.org/wiki/Phil_Ochs\" target=\"_blank\" rel=\"noopener\"> Phil Ochs \u003c/a>was off; it doesn’t matter because the songs are so full of heart and humanity. He and his bandmate and wife Rennie (who writes the surreal, sometimes somber lyrics) got a huge boost when \u003ca href=\"http://www.hbo.com/true-detective\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>True Detective\u003c/em>\u003c/a> made their single “Far From Any Road” the theme song for the show’s first season. They live in Albuquerque, and don’t like to tour much, but they’ve got a 10th album with songs, Rennie says, about “things we cannot see,” and it’s terrific. Details for their show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/the-handsome-family-gamh-w-drunken-prayer/\" 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/-SKjq1A-sVU'\n title='//www.youtube.com/embed/-SKjq1A-sVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 5\u003c/strong>: Monday nights can be kind of depressing, with the work week stretching before us. But I have an antidote for this week: comedian Jackie Kashian. She’s a smart, funny woman who likes to gently poke white privilege and nerdiness. Her husband’s a game designer, and she hosts the podcast \u003cem>\u003ca href=\"http://tdf.libsyn.com/\" target=\"_blank\" rel=\"noopener\">The Dork Forest\u003c/a>, \u003c/em>a tribute to geeks and pop culture freaks. Details for her Monday night show at Doc’s Lab are \u003ca href=\"http://www.docslabsf.com/event/1320599-comedian-jackie-kashian-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>Cheap Thrill\u003c/strong>, with tickets just $12-$15.\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/HaU70Qeb0Cc'\n title='//www.youtube.com/embed/HaU70Qeb0Cc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 2, 8 and 9: \u003c/strong>Comedian \u003ca href=\"https://www.lewisblack.com/\" target=\"_blank\" rel=\"noopener\">Lewis Black\u003c/a> nailed the dynamics of this past campaign season as well or better than any other commentator. And he’s a great relief valve for our own frustrations and anxieties, because he’s so righteously \u003cstrong>angry\u003c/strong> about it. As our producer Suzie Racho says, he looks a walking heart attack, so catch him before he self-destructs. Details here for his three Bay Area shows: Dec. 2 at the\u003ca href=\"http://concerts.livenation.com/event/1C005093CAE56029\" target=\"_blank\" rel=\"noopener\"> Masonic Auditorium in San Francisco\u003c/a>, Dec. 8 at the \u003ca href=\"http://www.uptowntheatrenapa.com/event/lewis-black-2/\" target=\"_blank\" rel=\"noopener\">Uptown Theater in Napa\u003c/a>, and Dec. 9 at the \u003ca href=\"https://goldenstatetheatre.showare.com/eventperformances.asp?evt=95\" target=\"_blank\" rel=\"noopener\">Golden State Theatre in Monterey\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/PrJTmpt43hg'\n title='//www.youtube.com/embed/PrJTmpt43hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 2 and 4\u003c/strong>: Baroque composers wrestled with the same moral dilemmas as we do now. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Indian_Queen_(opera)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Indian Queen\u003c/em>\u003c/a>, Henry Purcell (1659-1695) asked “Why should men quarrel here where all possess as much as they can hope for by success?” Mezzo-soprano \u003ca href=\"http://joycedidonato.com/in-war-peace/\" target=\"_blank\" rel=\"noopener\">Joyce DiDonato\u003c/a> performs an excerpt from \u003cem>The Indian Queen\u003c/em> as part of a suite of songs on war and peace on her new CD and tour, inspired by the attacks on Paris a year ago. (Check out Steven Winn’s\u003ca href=\"http://www.sfchronicle.com/performance/article/Joyce-DiDonato-to-perform-In-War-and-Peace-10634769.php\" target=\"_blank\" rel=\"noopener\"> preview \u003c/a>for the show in the \u003cem>San Francisco Chronicle\u003c/em>.) She’s joined forces with the period-instrument ensemble Il Pomo d’Oro, stage director Ralf Pleger, choreographer-dancer Manuel Palazzo and costume designer Vivienne Westwood to create a thoroughly theatrical recital. Details for her show tonight at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/december-2016/joyce-didonato-and-il-pomo-doro\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for her Sunday afternoon concert at Zellerbach Hall in Berkeley \u003ca href=\"https://calperformances.org/performances/2016-17/early-music/joyce-didonato-il-pomo-doro-war-and-peace-harmony-through-music.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12424060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12424060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-800x450.jpg\" alt=\"'Miss Bennet: Christmas at Pemberley' features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss Bennet: Christmas at Pemberley’ features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer) \u003ccite>(Photo: Kevin Berne/Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Dec. 23\u003c/strong>: Last year, the Bay Area’s \u003ca href=\"http://laurengunderson.com/\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> was the second most-produced living playwright in the country. She’s prolific, profound, and often funny. She’s got a new show, co-written with \u003ca href=\"http://zff.org/announcements/margot-melcon-joins-zff/\" target=\"_blank\" rel=\"noopener\">Margot Melcon\u003c/a>, called \u003cem>Miss Bennet: Christmas at Pemberley\u003c/em>. It’s an update on Jane Austen’s \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride and Prejudice\u003c/em>\u003c/a>, and Gunderson says it’s her and Melcon’s stab at the perfect Christmas play — a witty love story, set during the Christmas season, blending sentiment and smarts. And yes, it’s a bit of an escape from the anxieties of this past election season. “But the day after the election, going into rehearsal,” Gunderson tells me by phone, “we realized this play is more appropriate in part because it is still rare to have a lot of women on stage not talking about men, but talking about their own futures, their own agency, their own ambitions, and their own hearts.” Details for \u003cem>Miss Bennet\u003c/em> at Marin Theatre Co. are \u003ca href=\"http://www.marintheatre.org/productions/miss-bennet-christmas-at-pemberly\" 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/w1G_5cDlWeM'\n title='//www.youtube.com/embed/w1G_5cDlWeM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 8\u003c/strong>: \u003ca href=\"http://www.thesheltersmusic.com/\" target=\"_blank\" rel=\"noopener\">The Shelters\u003c/a> sound a little like the Byrds, the Beatles and a bit of the Allman Brothers all mixed together. Sebastian Harris, Josh Jove, Jacob Pillot, and Chase Simpson make classic rock ‘n’ roll, something we don’t really hear all that often these days. They also have an ace in the hole; their new album was produced by \u003ca href=\"http://www.tompetty.com/?frontpage=true\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a>, who was so impressed with the band that he produced their new album in his home studio. It’s very catchy stuff. Details for their Starline Social Club show are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2016/12/8/folk-yeah-presents-the-shelters\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. It’s another \u003cstrong>Cheap Thrill\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/0SsrpAtpllk'\n title='//www.youtube.com/embed/0SsrpAtpllk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2\u003c/strong>: We had to squeeze this in — Minna Choi and her \u003ca href=\"http://www.magikmagik.com/\" target=\"_blank\" rel=\"noopener\">Magik Magik Orchestra\u003c/a>, a team that has backed so many great pop recordings, are the stars for once. The show celebrates Choi’s new album, called \u003cem>Magik Magik. \u003c/em>Details for her show at the Swedish American Hall are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/magikmagik/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12423645/cy-and-davids-picks-an-update-on-pride-and-prejudice-songs-of-war-and-peace-and-seeking-shelter",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_968",
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12424668",
"label": "arts"
},
"arts_12421230": {
"type": "posts",
"id": "arts_12421230",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12421230",
"score": null,
"sort": [
1480633252000
]
},
"guestAuthors": [],
"slug": "cirque-du-soleil-and-kinetic-arts-fall-deep-into-the-dark-pleasures-of-circus",
"title": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus",
"publishDate": 1480633252,
"format": "standard",
"headTitle": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This review was written before a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/cirque-du-soleil-suspends-performances-following-worker-death/\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil technician was killed\u003c/a> during a show Tuesday night (Nov. 29). The show is on hiatus until further notice.\u003c/em>\u003c/p>\n\u003cp>Why the circus is fascinating remains a grand riddle. The emotions elicited by the art form are often so wild and contradictory that all you want is to harmonize them and find your way back to the normal, everyday world. Both Cirque du Soleil’s \u003cem>Luzia — A Waking Dream Of Mexico\u003c/em> and the Kinetic Arts Center’s \u003cem>Circus Disobedience: Inversion\u003c/em> hint at the answer to that riddle, while still keeping it a secret. Like the mystery of the Sphinx and our dreams, everything we need to know is right in front of us.\u003c/p>\n\u003cp>Cirque du Soleil’s \u003cem>Luzia\u003c/em> begins in terror. An airplane explodes, and a clown, the incredible, dough-faced Eric Koller, falls through the sky. Perhaps only a clown would find such a situation delightful, as the smiling Koller does here. He has a parachute, but soon loses it to a seagull. So things get worse fast, as well as more interesting.\u003c/p>\n\u003cp>The clown pulls out a paper umbrella, which is the type of last-minute reprieve often imagined in a dream. Will it save him, or slow him down just enough to make his last moments of life more terrifying? The collective groan of the audience suggests the latter. And you think, well, at least he’s going to Mexico, which is where he was heading, though not quite in the way that he planned.\u003c/p>\n\u003cp>It’s a beautiful start, and catches why this so-called family-friendly art form can often reach frightening levels of disturbance. Its fantasies are all encompassing — I can fall from a plane and live! — but death is always lurking, and not the kind where one goes to sleep and gently drifts away. So when our clown lands in a field of flowers, it’s both a brief respite from terror, and miraculous. And no circus worth its price of admission should ever leave either of those two states for long.\u003c/p>\n\u003cfigure id=\"attachment_12421448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421448\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg\" alt=\"The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So almost immediately, a butterfly woman appears running through the air, her wings gigantic and fragile. She touches down on, of all things, an airport moving walkway — the kind that you glide on when you have too much luggage or just want to get a kick out of walking fast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The walkway, all straight lines, rotates in perfect circles on the mechanical stage. As right angles suddenly become circles and back again, the cast performs one of the most ornate series of hoop dives I’ve ever seen. You can almost feel the rules of geometry bend in front of you, as the perpendicular lines of the acrobats on the walkway defy and meld with the circular, rotating stage.\u003c/p>\n\u003cp>At the finish of this improbability, Eric the clown is off again, leading us through a Mexico that only a tourist would dream of. In the woods where three women fly above the trees; on a movie set where the star balances on building blocks that take him higher and higher and higher; and finally to the “Swing to Swing,” a rather brutal contraption that hurls the performers wildly into the air.\u003c/p>\n\u003cfigure id=\"attachment_12421450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg\" alt=\"Some terrifying acrobatics in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some terrifying acrobatics in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a full-blown fantasy of transcendence flecked with shards of reality as cutting as glass. Unbelievable, thrilling, and awful, I was relieved when this “waking dream” of Mexico was over and that it never became the nightmare that it so often threatens to become.\u003c/p>\n\u003cp>The performers in \u003cem>Inversion\u003c/em> aren’t on the level of the ones in Cirque du Soleil. But they’re quite good, and it’s a thrill to see them in the Kinetic Arts Center’s 150-seat warehouse space.\u003c/p>\n\u003cfigure id=\"attachment_12421453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421453\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg\" alt=\"(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Arts’ ‘Inversion,’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the show properly begins, two clowns — brilliantly played throughout by Slater Penny and Julie Rogers — kind of mess around with the audience. It all seems a goof, and hardly worthy of grand ideas such as “disobedience” and “inversion.” But a good circus is always one step ahead of us.\u003c/p>\n\u003cp>The show starts with a full cast dance number and when the performers stand before us, you realize that artistic director Jaron Hollander’s notion of the circus is much closer to theater than is Cirque du Soleil’s. Here, we’re confronted with character types, not categories of performers. There’s an angry teen, an anarchist punk, a conservative Republican family, a Ring Mistress with a whip, a little girl, and two fairies — one kind of devilish and the other a bit of an angel.\u003c/p>\n\u003cp>As these types perform for us, they’re transformed by what they do. One of the most startling moments of \u003cem>Inversion\u003c/em> is Elliott Gittelsohn and Dwoira Galilea’s contortion act. It’s not just that they’re twisting their bodies in ways that defy basic biology; it’s that by doing so, their Republican identities implode while they contort. You feel how liberating talent, skill, and dedication are, and how their mere expression takes on an anarchic, uncontrollable force.\u003c/p>\n\u003cp>Unlike most circuses, there are no obvious signals about what’s going to happen next and who is going to do what. Ross Travis’ anarchist punk flies up and down a metal pole the way most of us lean against a wall. Even after you begin to expect his oddball attacks on gravity, it’s still hard to anticipate.\u003c/p>\n\u003cp>You would never guess that Erin $hredder’s Ring Mistress would rise in the air while twirling a dazzling array of luminescent hula-hoops, nor think that the angelic TT Robson could catch people in free fall with her feet, or believe that our casual clowns, so loose and natural, can scurry up dangling ropes and twirl in the air like mechanical whirligigs.\u003c/p>\n\u003cfigure id=\"attachment_12421454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg\" alt=\"Julie Rogers takes a twirl in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-768x429.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1020x570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1180x659.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-960x536.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266.jpeg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rogers takes a twirl in Kinetic Art’s ‘Inversion’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is as it seems. So even though the revolutionary ideals of \u003cem>Inversion\u003c/em> are quite tame, the show is nonetheless wildly explosive. Hollander has invested the whole piece with a verve and surprise that is beautiful and human. When the ending comes, it is both obvious and unbelievable. It’s both what we would expect and yet never imagine.\u003c/p>\n\u003cp>The whole cast gets in the act as if they were all taking turns playing lead guitar in the happiest garage band in the world. And for one glorious moment — a slow motion fight set to William Tell’s \u003cem>Overture of 1812 — \u003c/em>everything feels as if it’s upside down.\u003c/p>\n\u003cp>So the riddle of the circus is always partial and right before us: people are miraculous and fragile; they dream of the impossible and make it come true. It’s just that no matter how wonderful the outcome, everyone finally falls to the ground. And then the lights go out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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\u003cp>\u003cem>‘Inversion’ runs through Sunday, Dec. 18 at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/tickets-1\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Luiza’ runs through Sunday, Jan. 29 at the ATT parking lot in San Francisco. For tickets and information, \u003ca href=\"https://www.cirquedusoleil.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The internationally-renowned company and the scrappy local troupe have much in common when it comes to playing with our expectations.",
"status": "publish",
"parent": 0,
"modified": 1726701409,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1326
},
"headData": {
"title": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus | KQED",
"description": "The internationally-renowned company and the scrappy local troupe have much in common when it comes to playing with our expectations.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus",
"datePublished": "2016-12-01T15:00:52-08:00",
"dateModified": "2024-09-18T16:16:49-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12421230/cirque-du-soleil-and-kinetic-arts-fall-deep-into-the-dark-pleasures-of-circus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This review was written before a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/cirque-du-soleil-suspends-performances-following-worker-death/\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil technician was killed\u003c/a> during a show Tuesday night (Nov. 29). The show is on hiatus until further notice.\u003c/em>\u003c/p>\n\u003cp>Why the circus is fascinating remains a grand riddle. The emotions elicited by the art form are often so wild and contradictory that all you want is to harmonize them and find your way back to the normal, everyday world. Both Cirque du Soleil’s \u003cem>Luzia — A Waking Dream Of Mexico\u003c/em> and the Kinetic Arts Center’s \u003cem>Circus Disobedience: Inversion\u003c/em> hint at the answer to that riddle, while still keeping it a secret. Like the mystery of the Sphinx and our dreams, everything we need to know is right in front of us.\u003c/p>\n\u003cp>Cirque du Soleil’s \u003cem>Luzia\u003c/em> begins in terror. An airplane explodes, and a clown, the incredible, dough-faced Eric Koller, falls through the sky. Perhaps only a clown would find such a situation delightful, as the smiling Koller does here. He has a parachute, but soon loses it to a seagull. So things get worse fast, as well as more interesting.\u003c/p>\n\u003cp>The clown pulls out a paper umbrella, which is the type of last-minute reprieve often imagined in a dream. Will it save him, or slow him down just enough to make his last moments of life more terrifying? The collective groan of the audience suggests the latter. And you think, well, at least he’s going to Mexico, which is where he was heading, though not quite in the way that he planned.\u003c/p>\n\u003cp>It’s a beautiful start, and catches why this so-called family-friendly art form can often reach frightening levels of disturbance. Its fantasies are all encompassing — I can fall from a plane and live! — but death is always lurking, and not the kind where one goes to sleep and gently drifts away. So when our clown lands in a field of flowers, it’s both a brief respite from terror, and miraculous. And no circus worth its price of admission should ever leave either of those two states for long.\u003c/p>\n\u003cfigure id=\"attachment_12421448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421448\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg\" alt=\"The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So almost immediately, a butterfly woman appears running through the air, her wings gigantic and fragile. She touches down on, of all things, an airport moving walkway — the kind that you glide on when you have too much luggage or just want to get a kick out of walking fast.\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 walkway, all straight lines, rotates in perfect circles on the mechanical stage. As right angles suddenly become circles and back again, the cast performs one of the most ornate series of hoop dives I’ve ever seen. You can almost feel the rules of geometry bend in front of you, as the perpendicular lines of the acrobats on the walkway defy and meld with the circular, rotating stage.\u003c/p>\n\u003cp>At the finish of this improbability, Eric the clown is off again, leading us through a Mexico that only a tourist would dream of. In the woods where three women fly above the trees; on a movie set where the star balances on building blocks that take him higher and higher and higher; and finally to the “Swing to Swing,” a rather brutal contraption that hurls the performers wildly into the air.\u003c/p>\n\u003cfigure id=\"attachment_12421450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg\" alt=\"Some terrifying acrobatics in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some terrifying acrobatics in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a full-blown fantasy of transcendence flecked with shards of reality as cutting as glass. Unbelievable, thrilling, and awful, I was relieved when this “waking dream” of Mexico was over and that it never became the nightmare that it so often threatens to become.\u003c/p>\n\u003cp>The performers in \u003cem>Inversion\u003c/em> aren’t on the level of the ones in Cirque du Soleil. But they’re quite good, and it’s a thrill to see them in the Kinetic Arts Center’s 150-seat warehouse space.\u003c/p>\n\u003cfigure id=\"attachment_12421453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421453\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg\" alt=\"(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Arts’ ‘Inversion,’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the show properly begins, two clowns — brilliantly played throughout by Slater Penny and Julie Rogers — kind of mess around with the audience. It all seems a goof, and hardly worthy of grand ideas such as “disobedience” and “inversion.” But a good circus is always one step ahead of us.\u003c/p>\n\u003cp>The show starts with a full cast dance number and when the performers stand before us, you realize that artistic director Jaron Hollander’s notion of the circus is much closer to theater than is Cirque du Soleil’s. Here, we’re confronted with character types, not categories of performers. There’s an angry teen, an anarchist punk, a conservative Republican family, a Ring Mistress with a whip, a little girl, and two fairies — one kind of devilish and the other a bit of an angel.\u003c/p>\n\u003cp>As these types perform for us, they’re transformed by what they do. One of the most startling moments of \u003cem>Inversion\u003c/em> is Elliott Gittelsohn and Dwoira Galilea’s contortion act. It’s not just that they’re twisting their bodies in ways that defy basic biology; it’s that by doing so, their Republican identities implode while they contort. You feel how liberating talent, skill, and dedication are, and how their mere expression takes on an anarchic, uncontrollable force.\u003c/p>\n\u003cp>Unlike most circuses, there are no obvious signals about what’s going to happen next and who is going to do what. Ross Travis’ anarchist punk flies up and down a metal pole the way most of us lean against a wall. Even after you begin to expect his oddball attacks on gravity, it’s still hard to anticipate.\u003c/p>\n\u003cp>You would never guess that Erin $hredder’s Ring Mistress would rise in the air while twirling a dazzling array of luminescent hula-hoops, nor think that the angelic TT Robson could catch people in free fall with her feet, or believe that our casual clowns, so loose and natural, can scurry up dangling ropes and twirl in the air like mechanical whirligigs.\u003c/p>\n\u003cfigure id=\"attachment_12421454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg\" alt=\"Julie Rogers takes a twirl in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-768x429.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1020x570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1180x659.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-960x536.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266.jpeg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rogers takes a twirl in Kinetic Art’s ‘Inversion’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is as it seems. So even though the revolutionary ideals of \u003cem>Inversion\u003c/em> are quite tame, the show is nonetheless wildly explosive. Hollander has invested the whole piece with a verve and surprise that is beautiful and human. When the ending comes, it is both obvious and unbelievable. It’s both what we would expect and yet never imagine.\u003c/p>\n\u003cp>The whole cast gets in the act as if they were all taking turns playing lead guitar in the happiest garage band in the world. And for one glorious moment — a slow motion fight set to William Tell’s \u003cem>Overture of 1812 — \u003c/em>everything feels as if it’s upside down.\u003c/p>\n\u003cp>So the riddle of the circus is always partial and right before us: people are miraculous and fragile; they dream of the impossible and make it come true. It’s just that no matter how wonderful the outcome, everyone finally falls to the ground. And then the lights go out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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\u003cp>\u003cem>‘Inversion’ runs through Sunday, Dec. 18 at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/tickets-1\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Luiza’ runs through Sunday, Jan. 29 at the ATT parking lot in San Francisco. For tickets and information, \u003ca href=\"https://www.cirquedusoleil.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12421230/cirque-du-soleil-and-kinetic-arts-fall-deep-into-the-dark-pleasures-of-circus",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12421442",
"label": "arts_140"
},
"arts_12419647": {
"type": "posts",
"id": "arts_12419647",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12419647",
"score": null,
"sort": [
1480550074000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1480550074,
"format": "image",
"title": "Ticket Alert: 'Hamilton' in San Francisco",
"headTitle": "Ticket Alert: ‘Hamilton’ in San Francisco | KQED",
"content": "\u003cp>At long last, ticket information for the San Francisco run of \u003cem>Hamilton\u003c/em> is here.\u003c/p>\n\u003cp>SHN announced Wednesday that presale tickets for \u003cem>Hamilton\u003c/em> will go on sale to American Express cardholders on Monday, Dec. 5, at 10am. Those tickets may be purchased only with an American Express card, starting Dec. 5, at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. \u003c/p>\n\u003cp>Tickets go on sale to the general public for \u003cem>Hamilton\u003c/em> on Monday, Dec. 12, at 10am. Tickets may be purchased at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. Ticket may also be purchased by calling (888) 746-1799, or by visiting the SHN Orpheum Theatre Box Office.\u003c/p>\n\u003cp>Tickets cost $100-$197 each for regular performances, with select premium seats for all performances running $524. There is a six ticket limit per household.\u003c/p>\n\u003cp>To keep things interesting, there will also be a day-of-show lottery for $10 seats for all performances. Details for the day-of-show tickets will be announced closer to the run of the show. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> runs March 10–Aug. 5, 2017, at the Orpheum Theater in San Francisco. The production will feature an all-new cast, yet to be announced, from the original Broadway production.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details as they are known, visit \u003ca href=\"https://www.hamilton.shnsf.com/\" target=\"_blank\" rel=\"noopener\">SHN’s FAQ about \u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 208,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705032351,
"excerpt": "Here's everything you need to know to get tickets for the San Francisco run of 'Hamilton,' which go on sale next week.\r\n",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Here's everything you need to know to get tickets for the San Francisco run of 'Hamilton,' which go on sale next week.\r\n",
"title": "Ticket Alert: 'Hamilton' in San Francisco | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: 'Hamilton' in San Francisco",
"datePublished": "2016-11-30T15:54:34-08:00",
"dateModified": "2024-01-11T20:05:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ticket-alert-hamilton-in-san-francisco",
"status": "publish",
"sticky": false,
"path": "/arts/12419647/ticket-alert-hamilton-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At long last, ticket information for the San Francisco run of \u003cem>Hamilton\u003c/em> is here.\u003c/p>\n\u003cp>SHN announced Wednesday that presale tickets for \u003cem>Hamilton\u003c/em> will go on sale to American Express cardholders on Monday, Dec. 5, at 10am. Those tickets may be purchased only with an American Express card, starting Dec. 5, at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. \u003c/p>\n\u003cp>Tickets go on sale to the general public for \u003cem>Hamilton\u003c/em> on Monday, Dec. 12, at 10am. Tickets may be purchased at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. Ticket may also be purchased by calling (888) 746-1799, or by visiting the SHN Orpheum Theatre Box Office.\u003c/p>\n\u003cp>Tickets cost $100-$197 each for regular performances, with select premium seats for all performances running $524. There is a six ticket limit per household.\u003c/p>\n\u003cp>To keep things interesting, there will also be a day-of-show lottery for $10 seats for all performances. Details for the day-of-show tickets will be announced closer to the run of the show. \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>\u003cem>Hamilton\u003c/em> runs March 10–Aug. 5, 2017, at the Orpheum Theater in San Francisco. The production will feature an all-new cast, yet to be announced, from the original Broadway production.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details as they are known, visit \u003ca href=\"https://www.hamilton.shnsf.com/\" target=\"_blank\" rel=\"noopener\">SHN’s FAQ about \u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12419647/ticket-alert-hamilton-in-san-francisco",
"authors": [
"185"
],
"categories": [
"arts_967"
],
"tags": [
"arts_596",
"arts_700"
],
"featImg": "arts_12419658",
"label": "arts"
},
"arts_12418801": {
"type": "posts",
"id": "arts_12418801",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12418801",
"score": null,
"sort": [
1480546430000
]
},
"guestAuthors": [],
"slug": "cirque-du-soleil-suspends-performances-following-worker-death",
"title": "Cirque du Soleil Suspends Performances Following Worker Death",
"publishDate": 1480546430,
"format": "standard",
"headTitle": "Cirque du Soleil Suspends Performances Following Worker Death | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cstrong>Update: 1 p.m. Tuesday: \u003c/strong>The cast and crew of Cirque du Soleil’s LUZIA announced that they will resume their regular performance schedule tonight, Tuesday, Dec. 6 at 8 p.m. In a statement, the company wrote: “Cirque du Soleil wishes to thank fans, friends, family members, the San Francisco community and the entire Cirque du Soleil family from around the world for their love and support through these difficult times.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.dir.ca.gov/dosh/\" target=\"_blank\" rel=\"noopener\">Cal/OSHA\u003c/a>, the state’s workplace safety agency, is investigating an accident that killed a worker at the \u003ca href=\"https://www.cirquedusoleil.com/luzia\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil show \u003cem>Luzia\u003c/em>\u003c/a> in San Francisco Tuesday night.\u003c/p>\n\u003cp>“According to an outside source that reported it to Cal/OSHA, the maintenance worker was struck in the head by an aerial device,” said Cal/OSHA public information officer Julia Bernstein.\u003c/p>\n\u003cp>The deceased employee, Olivier Rochette, was 42, and he was the son of Gilles Ste-Croix, one of the founders of the globetrotting, Montreal-based circus troupe. A statement released by Cirque du Soleil following the news of Rochette’s death said his father has been informed of the accident.\u003c/p>\n\u003cp>“The entire Cirque du Soleil family is deeply saddened by the accidental death of \u003cem>Luzia\u003c/em> technician, Olivier Rochette,” said Cirque du Soleil CEO Daniel Lamarre in a statement released Wednesday. “Olivier has always been a member of our tight family and a beloved colleague.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cirque du Soleil frequently brings its spectacular productions to the Bay Area, and Bernstein said Cirque du Soleil has had a clean safety record in California over the last five years. The company has a reputation for high safety standards, albeit one marred by the death of an aerial acrobat during a performance in Las Vegas in 2013.\u003c/p>\n\u003cp>The accident has derailed the performance schedule for \u003cem>Luzia\u003c/em>, which has received positive reviews from local critics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil canceled Tuesday night’s show after the accident, and announced a cancellation of Wednesday night’s performance as well. “Cirque du Soleil will determine the status of tomorrow’s performances at a later time,” the statement added.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Cal/OSHA investigates the death of a maintenance worker at Cirque du Soleil's San Francisco show.",
"status": "publish",
"parent": 0,
"modified": 1726787296,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 368
},
"headData": {
"title": "Cirque du Soleil Suspends Performances Following Worker Death | KQED",
"description": "Cal/OSHA investigates the death of a maintenance worker at Cirque du Soleil's San Francisco show.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cirque du Soleil Suspends Performances Following Worker Death",
"datePublished": "2016-11-30T14:53:50-08:00",
"dateModified": "2024-09-19T16:08:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12418801/cirque-du-soleil-suspends-performances-following-worker-death",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update: 1 p.m. Tuesday: \u003c/strong>The cast and crew of Cirque du Soleil’s LUZIA announced that they will resume their regular performance schedule tonight, Tuesday, Dec. 6 at 8 p.m. In a statement, the company wrote: “Cirque du Soleil wishes to thank fans, friends, family members, the San Francisco community and the entire Cirque du Soleil family from around the world for their love and support through these difficult times.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.dir.ca.gov/dosh/\" target=\"_blank\" rel=\"noopener\">Cal/OSHA\u003c/a>, the state’s workplace safety agency, is investigating an accident that killed a worker at the \u003ca href=\"https://www.cirquedusoleil.com/luzia\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil show \u003cem>Luzia\u003c/em>\u003c/a> in San Francisco Tuesday night.\u003c/p>\n\u003cp>“According to an outside source that reported it to Cal/OSHA, the maintenance worker was struck in the head by an aerial device,” said Cal/OSHA public information officer Julia Bernstein.\u003c/p>\n\u003cp>The deceased employee, Olivier Rochette, was 42, and he was the son of Gilles Ste-Croix, one of the founders of the globetrotting, Montreal-based circus troupe. A statement released by Cirque du Soleil following the news of Rochette’s death said his father has been informed of the accident.\u003c/p>\n\u003cp>“The entire Cirque du Soleil family is deeply saddened by the accidental death of \u003cem>Luzia\u003c/em> technician, Olivier Rochette,” said Cirque du Soleil CEO Daniel Lamarre in a statement released Wednesday. “Olivier has always been a member of our tight family and a beloved colleague.”\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>Cirque du Soleil frequently brings its spectacular productions to the Bay Area, and Bernstein said Cirque du Soleil has had a clean safety record in California over the last five years. The company has a reputation for high safety standards, albeit one marred by the death of an aerial acrobat during a performance in Las Vegas in 2013.\u003c/p>\n\u003cp>The accident has derailed the performance schedule for \u003cem>Luzia\u003c/em>, which has received positive reviews from local critics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil canceled Tuesday night’s show after the accident, and announced a cancellation of Wednesday night’s performance as well. “Cirque du Soleil will determine the status of tomorrow’s performances at a later time,” the statement added.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12418801/cirque-du-soleil-suspends-performances-following-worker-death",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_1448",
"arts_746",
"arts_596"
],
"featImg": "arts_12418804",
"label": "arts"
},
"about_7894": {
"type": "posts",
"id": "about_7894",
"meta": {
"index": "posts_1716263798",
"site": "about",
"id": "7894",
"score": null,
"sort": [
1480530286000
]
},
"parent": 0,
"labelTerm": {
"site": "about",
"term": 15
},
"blocks": [],
"publishDate": 1480530286,
"format": "standard",
"disqusTitle": "Win Tickets to Snap Judgment LIVE!",
"title": "Win Tickets to Snap Judgment LIVE!",
"headTitle": "Giveaways | About KQED",
"content": "\u003cp>The \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgment LIVE\u003c/a> Tour comes home to San Francisco with a brand new \"Storytelling with a BEAT.\" See Glynn Washington and the world's top storytellers rock the Nourse Theatre like it's never been rocked. Be there...\u003c/p>\n\u003cp>\u003cstrong>For a chance to win tickets, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a>\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>with the subject “SNAP Live” that contains your full name.\u003c/strong>\u003c/p>\n\u003cp>From all entries, we’ll randomly select five \u003cstrong>winners for a pair of tickets\u003c/strong> (worth $22 each). \u003cstrong>Deadline to\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>enter\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>is Thursday, December 1 at 11:59 pm. \u003c/strong>Winners will be notified by e-mail on Friday morning, and tickets will be held at Will Call. You must be a California resident and 21 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgement LIVE!\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\">Nourse Theater\u003c/a>\u003cbr>\n\u003cstrong>December 3 at 7:00 pm\u003cbr>\n\u003c/strong>\u003cstrong>275 Hayes Street\u003cbr>\nSan Francisco, CA 94102\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>Tickets available at \u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">cityboxoffice.com\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"disqusIdentifier": "7894 http://ww2.kqed.org/about?p=7894&preview=true&preview_id=7894",
"disqusUrl": "https://ww2.kqed.org/about/2016/11/30/win-tickets-to-snap-judgment-live/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 170,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1480530386,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Snap Judgment LIVE Tour comes home to San Francisco with a brand new "Storytelling with a BEAT." See Glynn Washington and the world's top storytellers rock the Nourse Theatre like it's never been rocked. Be there... For a chance to win tickets, just send an email to giveaway@kqed.org with the subject “SNAP Live” that contains your full",
"title": "Win Tickets to Snap Judgment LIVE! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Win Tickets to Snap Judgment LIVE!",
"datePublished": "2016-11-30T10:24:46-08:00",
"dateModified": "2016-11-30T10:26:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "win-tickets-to-snap-judgment-live",
"status": "publish",
"path": "/about/7894/win-tickets-to-snap-judgment-live",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgment LIVE\u003c/a> Tour comes home to San Francisco with a brand new \"Storytelling with a BEAT.\" See Glynn Washington and the world's top storytellers rock the Nourse Theatre like it's never been rocked. Be there...\u003c/p>\n\u003cp>\u003cstrong>For a chance to win tickets, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a>\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>with the subject “SNAP Live” that contains your full name.\u003c/strong>\u003c/p>\n\u003cp>From all entries, we’ll randomly select five \u003cstrong>winners for a pair of tickets\u003c/strong> (worth $22 each). \u003cstrong>Deadline to\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>enter\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>is Thursday, December 1 at 11:59 pm. \u003c/strong>Winners will be notified by e-mail on Friday morning, and tickets will be held at Will Call. You must be a California resident and 21 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgement LIVE!\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\">Nourse Theater\u003c/a>\u003cbr>\n\u003cstrong>December 3 at 7:00 pm\u003cbr>\n\u003c/strong>\u003cstrong>275 Hayes Street\u003cbr>\nSan Francisco, CA 94102\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>Tickets available at \u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">cityboxoffice.com\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/about/7894/win-tickets-to-snap-judgment-live",
"authors": [
"6626"
],
"programs": [
"about_15"
],
"featImg": "about_7897",
"label": "about_15"
},
"arts_12381231": {
"type": "posts",
"id": "arts_12381231",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12381231",
"score": null,
"sort": [
1480035644000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-celebrating-romance-remembering-leonard-cohen-and-a-sci-fi-trump-rap",
"title": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap",
"publishDate": 1480035644,
"format": "standard",
"headTitle": "Cy and David’s Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/294337092″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Here at the Do List, we are mourning the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/18/sharon-jones-singer-and-soul-funk-bandleader-dies-at-60/\" target=\"_blank\" rel=\"noopener\">death of Sharon Jones \u003c/a>at just 60 years old. She brought such joy and power to her music. But we’re happy to have survived Thanksgiving family potlucks, and to point you to music and shows that will bring you joy. Try the \u003ca href=\"http://www.cafestritch.com/events/\" target=\"_blank\" rel=\"noopener\">Dynamic Miss Faye Carol singing the songs of Duke Ellington\u003c/a> at San Jose’s Cafe Stritch on Nov. 26, and \u003ca href=\"http://odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">ODC’s 30th anniversary revival of \u003c/a>\u003cem>The Velveteen Rabbit, \u003c/em>about a stuffed rabbit that comes to life and dances beautifully, running Nov. 25–Dec. 11.\u003cem> \u003c/em>\u003c/p>\n\u003cp>And now for the main list.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VTK0Ah2EKAc\u003c/p>\n\u003cp>\u003cstrong>Nov. 27\u003c/strong>: When the Nobel Prize Committee announced that a singer-songwriter was receiving the prize for literature, \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/leonard-cohen-hugely-influential-songwriter-and-author-dies-at-82/\" target=\"_blank\" rel=\"noopener\">Leonard Cohen \u003c/a>seemed as likely a choice as Bob Dylan. On Sunday, devoted Cohen fans will want to flock to a memorial show featuring the 30-member a cappella choir \u003ca href=\"http://conspiracyofbeards.com/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, San Francisco’s\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\"> Chuck Prophet\u003c/a>, Cohen biographer and singer \u003ca href=\"http://sylviesimmons.com/\" target=\"_blank\" rel=\"noopener\">Sylvie Simmons\u003c/a>, singer-songwriter Mark Kozelek, Sarah Bethe Nelson, Christopher Owens and others. My favorite songs: “Suzanne,” because I loved both Cohen’s version and the Judy Collins’ cover in college, and “Everybody Knows,” which is one reason I never play craps. Details for \u003cem>Songs of Love and Hate: A Tribute to Leonard Cohen\u003c/em> at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1387002-songs-love-hate-san-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12382395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12382395\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg\" alt=\"Tsunehisa Kimura's work is part of the show 'Japanese Photography from Postwar to Now' at SFMOMA\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795.jpg 1791w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tsunehisa Kimura’s work is part of the show ‘Japanese Photography from Postwar to Now’ at SFMOMA. \u003ccite>(Photo: Courtesy of Tsunehisa Kimura)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12:\u003c/strong> \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">\u003cem>Japanese Photography from Postwar to Now\u003c/em>\u003c/a> has just opened at SFMOMA with images that cover the period from the end of World War II, after the US dropped an atomic bomb on Hiroshima, to the nuclear plant disaster in Fukushima. \u003ca href=\"http://www.sfgate.com/news/article/SFMOMA-photography-curator-Sandra-Phillips-7243926.php\" target=\"_blank\" rel=\"noopener\">Curator Emeritus Sandra Phillips \u003c/a>assembled the show from SFMOMA’s huge (and exceptional) permanent collection and a donation from the Kurenboh Collection. The photos reveal multitudes about Japan and its conflicted relationship with the United States. Co-host \u003ca href=\"http://www.sfchronicle.com/art/article/Story-of-postwar-Japan-told-photos-both-bleak-and-10626480.php\" target=\"_blank\" rel=\"noopener\">David Wiegand reviewed the show\u003c/a>, and liked it so much, he went back to see it again. Details \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12382197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12382197 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg\" alt=\"'She Loves Me' at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, so good in 'Into the Woods' a few years ago\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘She Loves Me’ at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, who were marvelous in ‘Into the Woods’ a few years ago. \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 30–Jan. 14\u003c/strong>: It all started with the play \u003cem>Parfumerie \u003c/em>by the Hungarian/American writer Miklos Laszlo, about two shopkeepers who hate each other in person but fall in love as anonymous correspondents. The play inspired movies; \u003cem>The Shop Around the Corner\u003c/em> (Jimmy Stewart and Margaret Sullavan), \u003cem>The Good Old Summertime\u003c/em> (Judy Garland), and \u003cem>You’ve Got Mail\u003c/em> (Tom Hanks and Meg Ryan) — and the terrific musical \u003cem>She Loves Me,\u003c/em> a big success on Broadway in 1963 which saw a revival last year. Its success is no surprise, considering the songs are by Sheldon Harnick and Jerry Bock, the team responsible for\u003cem> Fiddler on the Roof\u003c/em>. \u003cem>She Loves Me\u003c/em> is at San Francisco Playhouse, where Susi Damilano directs the wonderful Monique Hafen and Jeffrey Brian Adams as the tumultuous couple heading a huge cast. Details \u003ca href=\"https://sfplayhouse.org/sfph/2016-2017-season/she-loves-me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ai6mlTpYkzc\u003c/p>\n\u003cp>\u003cstrong>Nov. 30–Dec. 31\u003c/strong>: Here’s another musical with nothing but romance on its mind. \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> is restaging \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Daddy-Long-Legs_(novel)\" target=\"_blank\" rel=\"noopener\">Daddy Longlegs\u003c/a>\u003c/em> (2010), based on the same \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Webster\" target=\"_blank\" rel=\"noopener\">Jean Webster\u003c/a> novel that inspired the movie starring Fred Astaire and Leslie Caron. It’s set in suffragette-era New England, where a spirited orphan girl is sent to a fancy college by a mysterious benefactor. True love ensues. Co-stars Hilary Maiberger and Derek Carley sound terrific in the video above, singing songs by Paul Gordon (who wrote \u003cem>Emma\u003c/em>, another Theatreworks production). Escapism has never looked so inviting. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/daddy-long-legs2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=edqCPS7qwPM\u003c/p>\n\u003cp>\u003cstrong>Nov. 27, Dec. 9–10, Dec. 24\u003c/strong>: The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus \u003c/a>always loves to get merry for the holidays. But this year, they’re also planning a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/15/sf-gay-mens-chorus-responds-to-trump-election-with-red-state-tour/\" target=\"_blank\" rel=\"noopener\">“Building Bridges” tour of Southern states in 2018\u003c/a>, ahead of the mid-term elections, as a way to let other LGBTQ people know they’re not alone — and perhaps change some minds among people who voted for Donald Trump and Mike Pence. Those who find that a refreshing approach will want to join them for \u003cem>Home for the Holidays\u003c/em> at the Luther Burbank Center in Santa Rosa on Sunday. Details \u003ca href=\"http://tickets.lutherburbankcenter.org/single/eventDetail.aspx?p=2292\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Or catch their \u003cem>Babes in Joyland\u003c/em> show at San Francisco’s Nourse Theatre, on Dec. 9th and 10th, or a show at the Castro Theatre on Dec. 24th. Details for the San Francisco shows are \u003ca href=\"http://www.sfgmc.org/season-concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WeW2vHkXwVE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25\u003c/strong>: \u003ca href=\"http://georgewatsky.com/\" target=\"_blank\" rel=\"noopener\">George Watsky \u003c/a>calls himself a typical “Bay Area Kid,” raised on a diet of Iraq War protests by open-hearted progressive parents in San Francisco. So naturally, this fast-rapping author, recording artist and graduate of \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Def_Poetry_Jam\" target=\"_blank\" rel=\"noopener\">Russell Simmons’ Def Poetry Jam\u003c/a> has felt obligated to talk about the election during his current tour. He told me he wrote “a science-fiction rap” about Donald Trump becoming President, never expecting it to come true. But now he’s trying not to wallow in depression as he plans his homecoming concert. “I’m going to acknowledge the political situation,” he said by phone, “but I also don’t want to spend the whole concert pandering to people who mostly share my views. I’m going to speak my mind, but I’m also going to play the concert, and not let the whole thing be consumed by that.” That’s a balance we all might seek to find in the next few months and years. Details for Watsky’s \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">Warfield \u003c/a>show are \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQEDs Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726787306,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 1084
},
"headData": {
"title": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap | KQED",
"description": "KQEDs Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap",
"datePublished": "2016-11-24T17:00:44-08:00",
"dateModified": "2024-09-19T16:08:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12381231/cy-and-davids-picks-celebrating-romance-remembering-leonard-cohen-and-a-sci-fi-trump-rap",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/294337092″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/294337092″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Here at the Do List, we are mourning the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/18/sharon-jones-singer-and-soul-funk-bandleader-dies-at-60/\" target=\"_blank\" rel=\"noopener\">death of Sharon Jones \u003c/a>at just 60 years old. She brought such joy and power to her music. But we’re happy to have survived Thanksgiving family potlucks, and to point you to music and shows that will bring you joy. Try the \u003ca href=\"http://www.cafestritch.com/events/\" target=\"_blank\" rel=\"noopener\">Dynamic Miss Faye Carol singing the songs of Duke Ellington\u003c/a> at San Jose’s Cafe Stritch on Nov. 26, and \u003ca href=\"http://odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">ODC’s 30th anniversary revival of \u003c/a>\u003cem>The Velveteen Rabbit, \u003c/em>about a stuffed rabbit that comes to life and dances beautifully, running Nov. 25–Dec. 11.\u003cem> \u003c/em>\u003c/p>\n\u003cp>And now for the main list.\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/VTK0Ah2EKAc'\n title='//www.youtube.com/embed/VTK0Ah2EKAc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 27\u003c/strong>: When the Nobel Prize Committee announced that a singer-songwriter was receiving the prize for literature, \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/leonard-cohen-hugely-influential-songwriter-and-author-dies-at-82/\" target=\"_blank\" rel=\"noopener\">Leonard Cohen \u003c/a>seemed as likely a choice as Bob Dylan. On Sunday, devoted Cohen fans will want to flock to a memorial show featuring the 30-member a cappella choir \u003ca href=\"http://conspiracyofbeards.com/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, San Francisco’s\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\"> Chuck Prophet\u003c/a>, Cohen biographer and singer \u003ca href=\"http://sylviesimmons.com/\" target=\"_blank\" rel=\"noopener\">Sylvie Simmons\u003c/a>, singer-songwriter Mark Kozelek, Sarah Bethe Nelson, Christopher Owens and others. My favorite songs: “Suzanne,” because I loved both Cohen’s version and the Judy Collins’ cover in college, and “Everybody Knows,” which is one reason I never play craps. Details for \u003cem>Songs of Love and Hate: A Tribute to Leonard Cohen\u003c/em> at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1387002-songs-love-hate-san-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12382395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12382395\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg\" alt=\"Tsunehisa Kimura's work is part of the show 'Japanese Photography from Postwar to Now' at SFMOMA\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795.jpg 1791w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tsunehisa Kimura’s work is part of the show ‘Japanese Photography from Postwar to Now’ at SFMOMA. \u003ccite>(Photo: Courtesy of Tsunehisa Kimura)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12:\u003c/strong> \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">\u003cem>Japanese Photography from Postwar to Now\u003c/em>\u003c/a> has just opened at SFMOMA with images that cover the period from the end of World War II, after the US dropped an atomic bomb on Hiroshima, to the nuclear plant disaster in Fukushima. \u003ca href=\"http://www.sfgate.com/news/article/SFMOMA-photography-curator-Sandra-Phillips-7243926.php\" target=\"_blank\" rel=\"noopener\">Curator Emeritus Sandra Phillips \u003c/a>assembled the show from SFMOMA’s huge (and exceptional) permanent collection and a donation from the Kurenboh Collection. The photos reveal multitudes about Japan and its conflicted relationship with the United States. Co-host \u003ca href=\"http://www.sfchronicle.com/art/article/Story-of-postwar-Japan-told-photos-both-bleak-and-10626480.php\" target=\"_blank\" rel=\"noopener\">David Wiegand reviewed the show\u003c/a>, and liked it so much, he went back to see it again. Details \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12382197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12382197 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg\" alt=\"'She Loves Me' at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, so good in 'Into the Woods' a few years ago\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘She Loves Me’ at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, who were marvelous in ‘Into the Woods’ a few years ago. \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 30–Jan. 14\u003c/strong>: It all started with the play \u003cem>Parfumerie \u003c/em>by the Hungarian/American writer Miklos Laszlo, about two shopkeepers who hate each other in person but fall in love as anonymous correspondents. The play inspired movies; \u003cem>The Shop Around the Corner\u003c/em> (Jimmy Stewart and Margaret Sullavan), \u003cem>The Good Old Summertime\u003c/em> (Judy Garland), and \u003cem>You’ve Got Mail\u003c/em> (Tom Hanks and Meg Ryan) — and the terrific musical \u003cem>She Loves Me,\u003c/em> a big success on Broadway in 1963 which saw a revival last year. Its success is no surprise, considering the songs are by Sheldon Harnick and Jerry Bock, the team responsible for\u003cem> Fiddler on the Roof\u003c/em>. \u003cem>She Loves Me\u003c/em> is at San Francisco Playhouse, where Susi Damilano directs the wonderful Monique Hafen and Jeffrey Brian Adams as the tumultuous couple heading a huge cast. Details \u003ca href=\"https://sfplayhouse.org/sfph/2016-2017-season/she-loves-me/\" 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/ai6mlTpYkzc'\n title='//www.youtube.com/embed/ai6mlTpYkzc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 30–Dec. 31\u003c/strong>: Here’s another musical with nothing but romance on its mind. \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> is restaging \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Daddy-Long-Legs_(novel)\" target=\"_blank\" rel=\"noopener\">Daddy Longlegs\u003c/a>\u003c/em> (2010), based on the same \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Webster\" target=\"_blank\" rel=\"noopener\">Jean Webster\u003c/a> novel that inspired the movie starring Fred Astaire and Leslie Caron. It’s set in suffragette-era New England, where a spirited orphan girl is sent to a fancy college by a mysterious benefactor. True love ensues. Co-stars Hilary Maiberger and Derek Carley sound terrific in the video above, singing songs by Paul Gordon (who wrote \u003cem>Emma\u003c/em>, another Theatreworks production). Escapism has never looked so inviting. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/daddy-long-legs2016\" 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/edqCPS7qwPM'\n title='//www.youtube.com/embed/edqCPS7qwPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 27, Dec. 9–10, Dec. 24\u003c/strong>: The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus \u003c/a>always loves to get merry for the holidays. But this year, they’re also planning a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/15/sf-gay-mens-chorus-responds-to-trump-election-with-red-state-tour/\" target=\"_blank\" rel=\"noopener\">“Building Bridges” tour of Southern states in 2018\u003c/a>, ahead of the mid-term elections, as a way to let other LGBTQ people know they’re not alone — and perhaps change some minds among people who voted for Donald Trump and Mike Pence. Those who find that a refreshing approach will want to join them for \u003cem>Home for the Holidays\u003c/em> at the Luther Burbank Center in Santa Rosa on Sunday. Details \u003ca href=\"http://tickets.lutherburbankcenter.org/single/eventDetail.aspx?p=2292\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Or catch their \u003cem>Babes in Joyland\u003c/em> show at San Francisco’s Nourse Theatre, on Dec. 9th and 10th, or a show at the Castro Theatre on Dec. 24th. Details for the San Francisco shows are \u003ca href=\"http://www.sfgmc.org/season-concerts/\" 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/WeW2vHkXwVE'\n title='//www.youtube.com/embed/WeW2vHkXwVE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25\u003c/strong>: \u003ca href=\"http://georgewatsky.com/\" target=\"_blank\" rel=\"noopener\">George Watsky \u003c/a>calls himself a typical “Bay Area Kid,” raised on a diet of Iraq War protests by open-hearted progressive parents in San Francisco. So naturally, this fast-rapping author, recording artist and graduate of \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Def_Poetry_Jam\" target=\"_blank\" rel=\"noopener\">Russell Simmons’ Def Poetry Jam\u003c/a> has felt obligated to talk about the election during his current tour. He told me he wrote “a science-fiction rap” about Donald Trump becoming President, never expecting it to come true. But now he’s trying not to wallow in depression as he plans his homecoming concert. “I’m going to acknowledge the political situation,” he said by phone, “but I also don’t want to spend the whole concert pandering to people who mostly share my views. I’m going to speak my mind, but I’m also going to play the concert, and not let the whole thing be consumed by that.” That’s a balance we all might seek to find in the next few months and years. Details for Watsky’s \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">Warfield \u003c/a>show are \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12381231/cy-and-davids-picks-celebrating-romance-remembering-leonard-cohen-and-a-sci-fi-trump-rap",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_69",
"arts_235",
"arts_75",
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12381802",
"label": "arts_140"
},
"arts_12385793": {
"type": "posts",
"id": "arts_12385793",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12385793",
"score": null,
"sort": [
1479929297000
]
},
"guestAuthors": [],
"slug": "theater-cancels-musical-about-imelda-marcos-in-san-francisco",
"title": "Theater Cancels Musical about Imelda Marcos in San Francisco",
"publishDate": 1479929297,
"format": "standard",
"headTitle": "Theater Cancels Musical about Imelda Marcos in San Francisco | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>There’s disappointing news for Bay Area fans of David Byrne and musicals. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory Theater \u003c/a>(ACT) has cancelled plans to stage \u003ca href=\"https://en.wikipedia.org/wiki/Here_Lies_Love\" target=\"_blank\" rel=\"noopener\">\u003cem>Here Lies Love\u003c/em>\u003c/a>, the musical about Imelda and Ferdinand Marcos by \u003ca href=\"https://www.facebook.com/DBtodomundo/\" target=\"_blank\" rel=\"noopener\">Byrne\u003c/a> and \u003ca href=\"http://www.fatboyslim.net/\" target=\"_blank\" rel=\"noopener\">Fatboy Slim.\u003c/a>\u003c/p>\n\u003cp>The show played to \u003ca href=\"http://www.nytimes.com/2013/04/24/theater/reviews/david-byrnes-here-lies-love-at-the-public-theater.html\" target=\"_blank\" rel=\"noopener\">good reviews in\u003c/a> 2013 and 2014 at the \u003ca href=\"http://www.publictheater.org/\" target=\"_blank\" rel=\"noopener\">Public Theater \u003c/a>in New York City and then in London, but ACT’s director says producing the show would be too expensive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aYm5Gs3TCtY\u003c/p>\n\u003cp>“Everybody here wanted to do it,” said ACT’s Interim Executive Director Peter Pastreich in a phone interview Wednesday morning. “But we were looking at a loss of between $800,000 and $1 million.”\u003c/p>\n\u003cp>The production would have cost about $2.5 million, Pastreich said, and though the company had hoped to raise an extra $250,000 in “special giving” to offset production costs, “we did not find patrons in the community,” Pastreich said, “who thought this was of sufficient interest, above and beyond normal fundraising.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pastreich said the show is so expensive to stage because it calls for audiences to stand, mingle, and dance with performers during the show, and that would have required covering all the seats in the company’s historic Geary Theater and building a new stage. The company also considered alternative venues like the Armory in San Francisco, but those plans fell through.\u003c/p>\n\u003cfigure id=\"attachment_12385795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12385795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg\" alt=\"ACTs Interim Executive Director Peter Pastreich\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1920x1369.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-960x685.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACTs Interim Executive Director Peter Pastreich \u003ccite>(Photo: Courtesy Courtesy of American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had two people in New York for two weeks negotiating details for the production,” Pastreich said. “We’re not critical of them at all, and we feel awful we couldn’t make it work.”\u003c/p>\n\u003cp>Instead of \u003cem>Here Lies Love\u003c/em>, ACT announced Tuesday they’ll produce a \u003ca href=\"http://anightwithjanisjoplin.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Night with Janis Joplin\u003c/em>\u003c/a> as a tribute to the 50th anniversary of the \u003ca href=\"http://50thsummeroflove.com/\" target=\"_blank\" rel=\"noopener\">Summer of Love \u003c/a>in San Francisco. The show had a record-breaking run at the now-defunct San Jose Repertory Theater in 2013.\u003c/p>\n\u003cp>“What better moment to celebrate the power of love and the uniqueness of the Bay Area,” ACT Artistic Director Carey Perloff said in a statement, “than by rocking out to the incredible music of Janis Joplin and the women who influenced her!”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.seattlerep.org/Plays/1617/HL/Synopsis\" target=\"_blank\" rel=\"noopener\">Seattle Repertory Theater \u003c/a>had worked with ACT on bringing \u003cem>Here Lies Love\u003c/em> to the West Coast, and that company emailed to say they’re going ahead with the production which opens in April 2017.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly sorry to be losing the co-producing partnership of \u003cem>Here Lies Love\u003c/em> with A.C.T.,” wrote Seattle Rep Communication Director Michelle Leyva, “This news does not affect the amazing work we have already done and will continue to do for this show.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "High costs force American Conservatory Theater to cancel David Byrne musical about Imelda Marcos. ",
"status": "publish",
"parent": 0,
"modified": 1726708779,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 479
},
"headData": {
"title": "Theater Cancels Musical about Imelda Marcos in San Francisco | KQED",
"description": "High costs force American Conservatory Theater to cancel David Byrne musical about Imelda Marcos. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Theater Cancels Musical about Imelda Marcos in San Francisco",
"datePublished": "2016-11-23T11:28:17-08:00",
"dateModified": "2024-09-18T18:19:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12385793/theater-cancels-musical-about-imelda-marcos-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s disappointing news for Bay Area fans of David Byrne and musicals. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory Theater \u003c/a>(ACT) has cancelled plans to stage \u003ca href=\"https://en.wikipedia.org/wiki/Here_Lies_Love\" target=\"_blank\" rel=\"noopener\">\u003cem>Here Lies Love\u003c/em>\u003c/a>, the musical about Imelda and Ferdinand Marcos by \u003ca href=\"https://www.facebook.com/DBtodomundo/\" target=\"_blank\" rel=\"noopener\">Byrne\u003c/a> and \u003ca href=\"http://www.fatboyslim.net/\" target=\"_blank\" rel=\"noopener\">Fatboy Slim.\u003c/a>\u003c/p>\n\u003cp>The show played to \u003ca href=\"http://www.nytimes.com/2013/04/24/theater/reviews/david-byrnes-here-lies-love-at-the-public-theater.html\" target=\"_blank\" rel=\"noopener\">good reviews in\u003c/a> 2013 and 2014 at the \u003ca href=\"http://www.publictheater.org/\" target=\"_blank\" rel=\"noopener\">Public Theater \u003c/a>in New York City and then in London, but ACT’s director says producing the show would be too expensive.\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/aYm5Gs3TCtY'\n title='//www.youtube.com/embed/aYm5Gs3TCtY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Everybody here wanted to do it,” said ACT’s Interim Executive Director Peter Pastreich in a phone interview Wednesday morning. “But we were looking at a loss of between $800,000 and $1 million.”\u003c/p>\n\u003cp>The production would have cost about $2.5 million, Pastreich said, and though the company had hoped to raise an extra $250,000 in “special giving” to offset production costs, “we did not find patrons in the community,” Pastreich said, “who thought this was of sufficient interest, above and beyond normal fundraising.”\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>Pastreich said the show is so expensive to stage because it calls for audiences to stand, mingle, and dance with performers during the show, and that would have required covering all the seats in the company’s historic Geary Theater and building a new stage. The company also considered alternative venues like the Armory in San Francisco, but those plans fell through.\u003c/p>\n\u003cfigure id=\"attachment_12385795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12385795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg\" alt=\"ACTs Interim Executive Director Peter Pastreich\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1920x1369.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-960x685.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACTs Interim Executive Director Peter Pastreich \u003ccite>(Photo: Courtesy Courtesy of American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had two people in New York for two weeks negotiating details for the production,” Pastreich said. “We’re not critical of them at all, and we feel awful we couldn’t make it work.”\u003c/p>\n\u003cp>Instead of \u003cem>Here Lies Love\u003c/em>, ACT announced Tuesday they’ll produce a \u003ca href=\"http://anightwithjanisjoplin.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Night with Janis Joplin\u003c/em>\u003c/a> as a tribute to the 50th anniversary of the \u003ca href=\"http://50thsummeroflove.com/\" target=\"_blank\" rel=\"noopener\">Summer of Love \u003c/a>in San Francisco. The show had a record-breaking run at the now-defunct San Jose Repertory Theater in 2013.\u003c/p>\n\u003cp>“What better moment to celebrate the power of love and the uniqueness of the Bay Area,” ACT Artistic Director Carey Perloff said in a statement, “than by rocking out to the incredible music of Janis Joplin and the women who influenced her!”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.seattlerep.org/Plays/1617/HL/Synopsis\" target=\"_blank\" rel=\"noopener\">Seattle Repertory Theater \u003c/a>had worked with ACT on bringing \u003cem>Here Lies Love\u003c/em> to the West Coast, and that company emailed to say they’re going ahead with the production which opens in April 2017.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly sorry to be losing the co-producing partnership of \u003cem>Here Lies Love\u003c/em> with A.C.T.,” wrote Seattle Rep Communication Director Michelle Leyva, “This news does not affect the amazing work we have already done and will continue to do for this show.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12385793/theater-cancels-musical-about-imelda-marcos-in-san-francisco",
"authors": [
"32"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_596"
],
"featImg": "arts_12385794",
"label": "arts"
},
"arts_12368326": {
"type": "posts",
"id": "arts_12368326",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12368326",
"score": null,
"sort": [
1479595219000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1479595219,
"format": "standard",
"title": "Counterpoint: The Theater Should Not Be a Safe Place",
"headTitle": "Counterpoint: The Theater Should Not Be a Safe Place | KQED",
"content": "\u003cp>The chatter today is that Vice President–Elect Mike Pence went to see \u003cem>Hamilton\u003c/em>, was \u003ca href=\"https://www.youtube.com/watch?v=0v4AjvIRGjA\" target=\"_blank\" rel=\"noopener\">booed by some audience members\u003c/a> upon arrival, and was addressed by the cast afterward in what most people would describe as a respectful reminder of core American values:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aWlwrUFiuUw\u003c/p>\n\u003cp>Already \u003ca href=\"https://www.buzzfeed.com/juliareinstein/trump-hamilton-twitter-feud?utm_term=.ib9lR6r21#.wr0V4yAxg\" target=\"_blank\" rel=\"noopener\">many are saying\u003c/a> that Pence’s sure-to-make-headlines attendance at \u003cem>Hamilton\u003c/em> was planned as a distraction from Donald Trump’s $25 million settlement in a fraud trial brought by some 6,000 former students of Trump University. (If so, \u003ca href=\"https://twitter.com/asabenn/status/800021782665318404\" target=\"_blank\" rel=\"noopener\">it worked\u003c/a>.) But this is an arts blog and not a politics blog, which is why we’ll focus here on Trump’s response:\u003c/p>\n\u003cp>https://twitter.com/realDonaldTrump/status/799974635274194947\u003c/p>\n\u003cp>I am not an expert on the theater. I have only been to dozens, not hundreds, of plays. But I can say this:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The theater should not be a safe place.\u003c/p>\n\u003cp>I’ll say it again: the theater should not be a safe place. The theater should challenge, upset, discomfort, call out, and upend. The theater is exactly the space where a politician who \u003ca href=\"http://www.ontheissues.org/IN/Mike_Pence.htm\" target=\"_blank\" rel=\"noopener\">twice voted to ban gay marriage\u003c/a> should have his ideas addressed at a production where the \u003ca href=\"http://www.nytimes.com/2016/07/11/theater/a-word-with-javier-munoz-the-new-hamilton-on-broadway.html\" target=\"_blank\" rel=\"noopener\">lead actor\u003c/a> is an openly gay and HIV+ man. Where the man soon to be serving in an administration that has called for a \u003ca href=\"http://www.nytimes.com/politics/first-draft/2015/11/20/donald-trump-says-hed-absolutely-require-muslims-to-register/\" target=\"_blank\" rel=\"noopener\">Muslim registry\u003c/a> and the \u003ca href=\"http://www.cbsnews.com/news/60-minutes-donald-trump-wall-mexican-border-fence-segments/\" target=\"_blank\" rel=\"noopener\">building of a wall\u003c/a> should be advised, \u003ca href=\"https://www.youtube.com/watch?v=GMp6WHWJHf4\" target=\"_blank\" rel=\"noopener\">from the stage\u003c/a>, that “We, sir, are the diverse America who are alarmed and anxious that your new administration will not protect us.”\u003c/p>\n\u003cp>If the theater does not do this, the theater fails. If art as a whole does not do this, art fails.\u003c/p>\n\u003cp>The theater is at its worst when it is reflecting our own comforts back to us. (I can think of \u003ca href=\"http://www.tulsaworld.com/archives/give-em-tunes-they-love-already/article_0ec286eb-dcd9-5f1c-a251-3eb3d8e11fa4.html\" target=\"_blank\" rel=\"noopener\">a few examples\u003c/a>.) If we go to the theatre to feel safe, or to see our own preferences and beliefs on the stage, we are experiencing coddling. Not art.\u003c/p>\n\u003cp>Let the address from the cast of \u003cem>Hamilton\u003c/em> be the guide for every theater in America for the next four years.\u003c/p>\n\u003cp>This has been your counterpoint.\u003c/p>\n\u003cp>\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=\"\" 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\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 366,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705032436,
"excerpt": "The President-Elect's comments about the cast of 'Hamilton' strike an ominous tone for the arts.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The President-Elect's comments about the cast of 'Hamilton' strike an ominous tone for the arts.",
"title": "Counterpoint: The Theater Should Not Be a Safe Place | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Counterpoint: The Theater Should Not Be a Safe Place",
"datePublished": "2016-11-19T14:40:19-08:00",
"dateModified": "2024-01-11T20:07:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "counterpoint-the-theater-should-not-be-a-safe-place",
"status": "publish",
"sticky": false,
"path": "/arts/12368326/counterpoint-the-theater-should-not-be-a-safe-place",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The chatter today is that Vice President–Elect Mike Pence went to see \u003cem>Hamilton\u003c/em>, was \u003ca href=\"https://www.youtube.com/watch?v=0v4AjvIRGjA\" target=\"_blank\" rel=\"noopener\">booed by some audience members\u003c/a> upon arrival, and was addressed by the cast afterward in what most people would describe as a respectful reminder of core American values:\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/aWlwrUFiuUw'\n title='//www.youtube.com/embed/aWlwrUFiuUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Already \u003ca href=\"https://www.buzzfeed.com/juliareinstein/trump-hamilton-twitter-feud?utm_term=.ib9lR6r21#.wr0V4yAxg\" target=\"_blank\" rel=\"noopener\">many are saying\u003c/a> that Pence’s sure-to-make-headlines attendance at \u003cem>Hamilton\u003c/em> was planned as a distraction from Donald Trump’s $25 million settlement in a fraud trial brought by some 6,000 former students of Trump University. (If so, \u003ca href=\"https://twitter.com/asabenn/status/800021782665318404\" target=\"_blank\" rel=\"noopener\">it worked\u003c/a>.) But this is an arts blog and not a politics blog, which is why we’ll focus here on Trump’s response:\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "799974635274194947"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I am not an expert on the theater. I have only been to dozens, not hundreds, of plays. But I can say this:\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 theater should not be a safe place.\u003c/p>\n\u003cp>I’ll say it again: the theater should not be a safe place. The theater should challenge, upset, discomfort, call out, and upend. The theater is exactly the space where a politician who \u003ca href=\"http://www.ontheissues.org/IN/Mike_Pence.htm\" target=\"_blank\" rel=\"noopener\">twice voted to ban gay marriage\u003c/a> should have his ideas addressed at a production where the \u003ca href=\"http://www.nytimes.com/2016/07/11/theater/a-word-with-javier-munoz-the-new-hamilton-on-broadway.html\" target=\"_blank\" rel=\"noopener\">lead actor\u003c/a> is an openly gay and HIV+ man. Where the man soon to be serving in an administration that has called for a \u003ca href=\"http://www.nytimes.com/politics/first-draft/2015/11/20/donald-trump-says-hed-absolutely-require-muslims-to-register/\" target=\"_blank\" rel=\"noopener\">Muslim registry\u003c/a> and the \u003ca href=\"http://www.cbsnews.com/news/60-minutes-donald-trump-wall-mexican-border-fence-segments/\" target=\"_blank\" rel=\"noopener\">building of a wall\u003c/a> should be advised, \u003ca href=\"https://www.youtube.com/watch?v=GMp6WHWJHf4\" target=\"_blank\" rel=\"noopener\">from the stage\u003c/a>, that “We, sir, are the diverse America who are alarmed and anxious that your new administration will not protect us.”\u003c/p>\n\u003cp>If the theater does not do this, the theater fails. If art as a whole does not do this, art fails.\u003c/p>\n\u003cp>The theater is at its worst when it is reflecting our own comforts back to us. (I can think of \u003ca href=\"http://www.tulsaworld.com/archives/give-em-tunes-they-love-already/article_0ec286eb-dcd9-5f1c-a251-3eb3d8e11fa4.html\" target=\"_blank\" rel=\"noopener\">a few examples\u003c/a>.) If we go to the theatre to feel safe, or to see our own preferences and beliefs on the stage, we are experiencing coddling. Not art.\u003c/p>\n\u003cp>Let the address from the cast of \u003cem>Hamilton\u003c/em> be the guide for every theater in America for the next four years.\u003c/p>\n\u003cp>This has been your counterpoint.\u003c/p>\n\u003cp>\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=\"\" 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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12368326/counterpoint-the-theater-should-not-be-a-safe-place",
"authors": [
"185"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_12368330",
"label": "arts"
},
"arts_12358960": {
"type": "posts",
"id": "arts_12358960",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12358960",
"score": null,
"sort": [
1479430836000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-a-well-stuffed-show-with-a-communal-orchestra-dream-pop-and-the-politics-of-soccer",
"title": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer",
"publishDate": 1479430836,
"format": "standard",
"headTitle": "Cy and David’s Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293554649″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>We’re always left with a few great items that don’t make the main list. Jazz pianist Larry Vuckovich is celebrating his 80th birthday, fingers still flying on the keyboards, on Sunday, Nov. 20, at the \u003ca href=\"http://www.bachddsoc.org/calendar.html#Larry-Vuckovich\" target=\"_blank\" rel=\"noopener\">Bach Dancing and Dynamite Society\u003c/a> in Half Moon Bay and Sunday, Dec. 4, at \u003ca href=\"http://piedmontpiano.com/concerts/161204larryvuckovich80bday.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano\u003c/a> in Oakland. Opera Parallele presents \u003cem>Xochitl and the Flowers\u003c/em>, a kid’s opera with children performers, for free \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">on Sunday, Nov. 20\u003c/a>. And Classical Revolution, the San Francisco group that pioneered classical music in bars and clubs around the country, celebrates its 10th anniversary with a \u003ca href=\"http://classicalrevolution.org\" target=\"_blank\" rel=\"noopener\">free performance of Beethoven’s Ninth Symphony\u003c/a> at Grace Cathedral. Now the best of the rest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_IkLUOsNHAA\u003c/p>\n\u003cp>\u003cstrong>Nov. 22 and 23\u003c/strong>: The \u003ca href=\"https://www.berliner-philharmoniker.de/en/\" target=\"_blank\" rel=\"noopener\">Berlin Philharmonic\u003c/a> is one of the world’s great orchestras, and unique in that the musicians pick their own conductor. And this is a goodbye tour for their current choice, the great Simon Rattle, who is stepping down at the end of 2017. They’re bringing a challenging program: Webern, Boulez, Berg and Schoenberg, sweetened with Brahms and Mahler. But trust them, this tightly knit orchestra can make sense out of music that baffles lesser musicians. Details for their Davies Hall concerts Nov. 22nd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-22.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and on Nov. 23rd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-23.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12359544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg\" alt=\"Khary Moye and Margo Hall. star in Word for Word's production of All 'Aunt Hagar's Children' at Z Space\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1920x1210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Margo Hall. star in Word for Word’s production of ‘All Aunt Hagar’s Children’ at Z Space \u003ccite>(Photo: Mel Solomon/Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 17–Dec. 11\u003c/strong>: Edward P. Jones’ “All Aunt Hagar’s Children” is a terrific noir short story (first published \u003ca href=\"http://www.newyorker.com/magazine/2003/12/22/all-aunt-hagars-children\" target=\"_blank\" rel=\"noopener\">in the \u003cem>New Yorker\u003c/em>\u003c/a> in 2003) about a Korean War veteran, an African American, who tries to solve the murder of a cousin and finds out more than he wanted to about his family. Now, \u003ca href=\"https://ww2.kqed.org/spark/word-for-word/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — the San Francisco company where the actors transform short stories into great drama — performs Jones’ story, in which the nameless hero also deals with class and race issues. You know you’re in good hands with Margo Hall (co-directing), Velina Brown, and Edris Cooper-Anifowoshe in the cast. And there’s a \u003ca href=\"http://www.zspace.org/gala2016\" target=\"_blank\" rel=\"noopener\">special performance\u003c/a> with Edward P. Jones in conversation with journalist Belva Davis on Dec. 1. Details for the Word for Word production at Z Space are\u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iaIUysAS7hs\u003c/p>\n\u003cp>\u003cstrong>Nov. 20 and Dec 4:\u003c/strong> Klezmer music always makes me think of weddings and good parties. This relic of shtetl culture was in danger of dying out in the 20th century, along with \u003ca href=\"http://www.yiddishbookcenter.org/\" target=\"_blank\" rel=\"noopener\">Yiddish\u003c/a>, but groups like \u003ca href=\"http://www.klezcalifornia.org/home\" target=\"_blank\" rel=\"noopener\">KlezCalifornia\u003c/a>, both an organization and an annual festival, have helped revive the music and the language. The festival is a pair of concerts and workshops, featuring comedy, Yiddish songs, storytelling, and yes, you’ll probably have to dance in a big circle at some point. It’s also a chance to see my favorite Jewish lesbian comedian juggler Sara Felder — a true shayna punim. Details for the concerts on Sunday, Nov. 20, at the Osher Marin JCC in San Rafael, and Sunday, Dec. 4, at the JCC East Bay in Berkeley are \u003ca href=\"http://www.klezcalifornia.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F1jiulKLsJY\u003c/p>\n\u003cp>\u003cstrong>Ongoing\u003c/strong>: We’re celebrating a new museum on the outskirts of the Bay Area — UC Davis’ new Minetti Shrem Museum. For the opening, they’ve tapped a great legacy of work by UC Davis faculty, including some revolutionary figures who taught there in the Art Department’s early years like Wayne Thiebaud, Robert Arneson, William T. Wiley, Manuel Neri, Ruth Horsting, and Jane Garritson. The show \u003cem>Out Our Way \u003c/em>featuring their work is on view through March 26. I’m also fascinated by \u003cem>Hoof and Foot\u003c/em>, a giant video piece by Bay Area artist Chris Sollars, about the comparisons in how animals and students learn. (UC Davis also has a top veterinary school.) Details for exhibits at the Minetti Shrem Museum, which is always free, are\u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/exhibitions.html\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/189379134\u003c/p>\n\u003cp>\u003cstrong>Nov 18–20\u003c/strong>: \u003ca href=\"http://www.bamuthi.com/#!slide-5\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a> is a Bay Area treasure — \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Chief of Program and Pedagogy\u003c/a> at the Yerba Buena Center for the Arts, and a terrific choreographer, dancer and poet. He’s got a new piece called \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">/peh-LO-tah/ — a futbol framed freedom suite\u003c/a>\u003c/em>, about soccer as a sport of joy for kids, but also the place where the Third World meets the First World in a haze of corruption. “Soccer is an extended metaphor,” Bamuthi told me before starting a day of rehearsals. “Moving without the ball is an immigrant story. Being focused on your goal, without being in possession, that’s an immigrant story. So the piece is deeply emotional, but also deeply political in its scope and ambition.” If that sounds too analytical, go anyway. Bamuthi’s dance/plays are always as moving as they are thoughtful. Details for /peh-LO-tah/ at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bSOl7yp5QwA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18\u003c/strong>: Jay Som is the stage name for the multi-talented dream-pop singer and songwriter Melinda Duterte. She grew up in Brentwood and recently moved to San Francisco, so it’s heartening to find we haven’t gentrified everyone out of town yet. Duterte \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">just reissued\u003c/a> her Bandcamp debut \u003cem>Turn Into\u003c/em>, plus she’s got her first music video out (see above). This is handcrafted music, mostly recorded at her home, and wonderfully spooky in the way it mixes memory and heartache. One review called her songs “gorgeous tearjerkers,” and I couldn’t agree more. Details for her show at the Brick & Mortar Music Hall are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6937935&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Marc Bamuthi Joseph's new play, the Berlin Philharmonic, the new Manetti Shrem museum and more.",
"status": "publish",
"parent": 0,
"modified": 1726787319,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 1052
},
"headData": {
"title": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer | KQED",
"description": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Marc Bamuthi Joseph's new play, the Berlin Philharmonic, the new Manetti Shrem museum and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer",
"datePublished": "2016-11-17T17:00:36-08:00",
"dateModified": "2024-09-19T16:08:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12358960/cy-and-davids-picks-a-well-stuffed-show-with-a-communal-orchestra-dream-pop-and-the-politics-of-soccer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/293554649″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/293554649″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We’re always left with a few great items that don’t make the main list. Jazz pianist Larry Vuckovich is celebrating his 80th birthday, fingers still flying on the keyboards, on Sunday, Nov. 20, at the \u003ca href=\"http://www.bachddsoc.org/calendar.html#Larry-Vuckovich\" target=\"_blank\" rel=\"noopener\">Bach Dancing and Dynamite Society\u003c/a> in Half Moon Bay and Sunday, Dec. 4, at \u003ca href=\"http://piedmontpiano.com/concerts/161204larryvuckovich80bday.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano\u003c/a> in Oakland. Opera Parallele presents \u003cem>Xochitl and the Flowers\u003c/em>, a kid’s opera with children performers, for free \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">on Sunday, Nov. 20\u003c/a>. And Classical Revolution, the San Francisco group that pioneered classical music in bars and clubs around the country, celebrates its 10th anniversary with a \u003ca href=\"http://classicalrevolution.org\" target=\"_blank\" rel=\"noopener\">free performance of Beethoven’s Ninth Symphony\u003c/a> at Grace Cathedral. Now the best of the rest.\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/_IkLUOsNHAA'\n title='//www.youtube.com/embed/_IkLUOsNHAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 22 and 23\u003c/strong>: The \u003ca href=\"https://www.berliner-philharmoniker.de/en/\" target=\"_blank\" rel=\"noopener\">Berlin Philharmonic\u003c/a> is one of the world’s great orchestras, and unique in that the musicians pick their own conductor. And this is a goodbye tour for their current choice, the great Simon Rattle, who is stepping down at the end of 2017. They’re bringing a challenging program: Webern, Boulez, Berg and Schoenberg, sweetened with Brahms and Mahler. But trust them, this tightly knit orchestra can make sense out of music that baffles lesser musicians. Details for their Davies Hall concerts Nov. 22nd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-22.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and on Nov. 23rd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-23.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12359544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg\" alt=\"Khary Moye and Margo Hall. star in Word for Word's production of All 'Aunt Hagar's Children' at Z Space\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1920x1210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Margo Hall. star in Word for Word’s production of ‘All Aunt Hagar’s Children’ at Z Space \u003ccite>(Photo: Mel Solomon/Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 17–Dec. 11\u003c/strong>: Edward P. Jones’ “All Aunt Hagar’s Children” is a terrific noir short story (first published \u003ca href=\"http://www.newyorker.com/magazine/2003/12/22/all-aunt-hagars-children\" target=\"_blank\" rel=\"noopener\">in the \u003cem>New Yorker\u003c/em>\u003c/a> in 2003) about a Korean War veteran, an African American, who tries to solve the murder of a cousin and finds out more than he wanted to about his family. Now, \u003ca href=\"https://ww2.kqed.org/spark/word-for-word/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — the San Francisco company where the actors transform short stories into great drama — performs Jones’ story, in which the nameless hero also deals with class and race issues. You know you’re in good hands with Margo Hall (co-directing), Velina Brown, and Edris Cooper-Anifowoshe in the cast. And there’s a \u003ca href=\"http://www.zspace.org/gala2016\" target=\"_blank\" rel=\"noopener\">special performance\u003c/a> with Edward P. Jones in conversation with journalist Belva Davis on Dec. 1. Details for the Word for Word production at Z Space are\u003ca href=\"http://www.zspace.org/\" 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/iaIUysAS7hs'\n title='//www.youtube.com/embed/iaIUysAS7hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 20 and Dec 4:\u003c/strong> Klezmer music always makes me think of weddings and good parties. This relic of shtetl culture was in danger of dying out in the 20th century, along with \u003ca href=\"http://www.yiddishbookcenter.org/\" target=\"_blank\" rel=\"noopener\">Yiddish\u003c/a>, but groups like \u003ca href=\"http://www.klezcalifornia.org/home\" target=\"_blank\" rel=\"noopener\">KlezCalifornia\u003c/a>, both an organization and an annual festival, have helped revive the music and the language. The festival is a pair of concerts and workshops, featuring comedy, Yiddish songs, storytelling, and yes, you’ll probably have to dance in a big circle at some point. It’s also a chance to see my favorite Jewish lesbian comedian juggler Sara Felder — a true shayna punim. Details for the concerts on Sunday, Nov. 20, at the Osher Marin JCC in San Rafael, and Sunday, Dec. 4, at the JCC East Bay in Berkeley are \u003ca href=\"http://www.klezcalifornia.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/F1jiulKLsJY'\n title='//www.youtube.com/embed/F1jiulKLsJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Ongoing\u003c/strong>: We’re celebrating a new museum on the outskirts of the Bay Area — UC Davis’ new Minetti Shrem Museum. For the opening, they’ve tapped a great legacy of work by UC Davis faculty, including some revolutionary figures who taught there in the Art Department’s early years like Wayne Thiebaud, Robert Arneson, William T. Wiley, Manuel Neri, Ruth Horsting, and Jane Garritson. The show \u003cem>Out Our Way \u003c/em>featuring their work is on view through March 26. I’m also fascinated by \u003cem>Hoof and Foot\u003c/em>, a giant video piece by Bay Area artist Chris Sollars, about the comparisons in how animals and students learn. (UC Davis also has a top veterinary school.) Details for exhibits at the Minetti Shrem Museum, which is always free, are\u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/exhibitions.html\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "189379134"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Nov 18–20\u003c/strong>: \u003ca href=\"http://www.bamuthi.com/#!slide-5\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a> is a Bay Area treasure — \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Chief of Program and Pedagogy\u003c/a> at the Yerba Buena Center for the Arts, and a terrific choreographer, dancer and poet. He’s got a new piece called \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">/peh-LO-tah/ — a futbol framed freedom suite\u003c/a>\u003c/em>, about soccer as a sport of joy for kids, but also the place where the Third World meets the First World in a haze of corruption. “Soccer is an extended metaphor,” Bamuthi told me before starting a day of rehearsals. “Moving without the ball is an immigrant story. Being focused on your goal, without being in possession, that’s an immigrant story. So the piece is deeply emotional, but also deeply political in its scope and ambition.” If that sounds too analytical, go anyway. Bamuthi’s dance/plays are always as moving as they are thoughtful. Details for /peh-LO-tah/ at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" 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/bSOl7yp5QwA'\n title='//www.youtube.com/embed/bSOl7yp5QwA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18\u003c/strong>: Jay Som is the stage name for the multi-talented dream-pop singer and songwriter Melinda Duterte. She grew up in Brentwood and recently moved to San Francisco, so it’s heartening to find we haven’t gentrified everyone out of town yet. Duterte \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">just reissued\u003c/a> her Bandcamp debut \u003cem>Turn Into\u003c/em>, plus she’s got her first music video out (see above). This is handcrafted music, mostly recorded at her home, and wonderfully spooky in the way it mixes memory and heartache. One review called her songs “gorgeous tearjerkers,” and I couldn’t agree more. Details for her show at the Brick & Mortar Music Hall are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6937935&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12358960/cy-and-davids-picks-a-well-stuffed-show-with-a-communal-orchestra-dream-pop-and-the-politics-of-soccer",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235",
"arts_75",
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12359545",
"label": "arts_140"
},
"arts_12327437": {
"type": "posts",
"id": "arts_12327437",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12327437",
"score": null,
"sort": [
1478880057000
]
},
"guestAuthors": [],
"slug": "women-veterans-share-stories-from-the-frontlines-on-stage",
"title": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage",
"publishDate": 1478880057,
"format": "video",
"headTitle": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When Jasmine Johnson was diagnosed with bipolar disorder and post-traumatic stress syndrome (PTSD) five years after she left active duty in the U.S. Navy, she felt like her life was falling apart.\u003c/p>\n\u003cp>“Getting diagnosed with a mental illness can knock your feet out from under you,” Johnson says. “I needed something out of the norm to help me find myself.”\u003c/p>\n\u003cp>Johnson’s found that “something” in \u003ca href=\"http://echotheatersuitcase.com/project/stand-ground\" target=\"_blank\" rel=\"noopener\">\u003cem>Stand Ground\u003c/em>\u003c/a>, a recent theater production at San Francisco’s CounterPulse in which she performed alongside other women veterans and non-veterans. Together, the women told stories through speech, movement and song about their traumatic experiences on the front lines — whether in a war zone or daily civilian life.\u003c/p>\n\u003cp>\u003cem>Stand Ground\u003c/em> was conceived by Bay Area theater \u003ca href=\"http://www.kristadenio.com\" target=\"_blank\" rel=\"noopener\">director Krista DeNio\u003c/a>, who has directed other productions that bring veteran and non-veteran participants together through the \u003ca href=\"http://echotheatersuitcase.com/\" target=\"_blank\" rel=\"noopener\">EchoTheaterSuitcase \u003c/a>project. DeNio comes from a military family and was troubled by the way in which the ex-servicemen and women around her internalized their experiences.\u003c/p>\n\u003cp>“They wouldn’t talk about it,” DeNio says. Making theater is one way of helping people come to terms with the traumas of working in a combat zone. — \u003cem>Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "'Stand Ground,' a recent theater production at San Francisco’s CounterPulse, helps people come to terms with the traumas of working in a combat zone. ",
"status": "publish",
"parent": 0,
"modified": 1726701143,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 220
},
"headData": {
"title": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage | KQED",
"description": "'Stand Ground,' a recent theater production at San Francisco’s CounterPulse, helps people come to terms with the traumas of working in a combat zone. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage",
"datePublished": "2016-11-11T08:00:57-08:00",
"dateModified": "2024-09-18T16:12:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://youtu.be/uywlaDN5dLE",
"sticky": false,
"nprByline": "Mike Seely",
"path": "/arts/12327437/women-veterans-share-stories-from-the-frontlines-on-stage",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jasmine Johnson was diagnosed with bipolar disorder and post-traumatic stress syndrome (PTSD) five years after she left active duty in the U.S. Navy, she felt like her life was falling apart.\u003c/p>\n\u003cp>“Getting diagnosed with a mental illness can knock your feet out from under you,” Johnson says. “I needed something out of the norm to help me find myself.”\u003c/p>\n\u003cp>Johnson’s found that “something” in \u003ca href=\"http://echotheatersuitcase.com/project/stand-ground\" target=\"_blank\" rel=\"noopener\">\u003cem>Stand Ground\u003c/em>\u003c/a>, a recent theater production at San Francisco’s CounterPulse in which she performed alongside other women veterans and non-veterans. Together, the women told stories through speech, movement and song about their traumatic experiences on the front lines — whether in a war zone or daily civilian life.\u003c/p>\n\u003cp>\u003cem>Stand Ground\u003c/em> was conceived by Bay Area theater \u003ca href=\"http://www.kristadenio.com\" target=\"_blank\" rel=\"noopener\">director Krista DeNio\u003c/a>, who has directed other productions that bring veteran and non-veteran participants together through the \u003ca href=\"http://echotheatersuitcase.com/\" target=\"_blank\" rel=\"noopener\">EchoTheaterSuitcase \u003c/a>project. DeNio comes from a military family and was troubled by the way in which the ex-servicemen and women around her internalized their experiences.\u003c/p>\n\u003cp>“They wouldn’t talk about it,” DeNio says. Making theater is one way of helping people come to terms with the traumas of working in a combat zone. — \u003cem>Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12327437/women-veterans-share-stories-from-the-frontlines-on-stage",
"authors": [
"byline_arts_12327437"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_3126",
"arts_1072",
"arts_1007"
],
"featImg": "arts_12327634",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=theater": {
"isFetching": false,
"latestQuery": {
"from": 588,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 983,
"relation": "eq"
},
"items": [
"arts_12471334",
"arts_12474047",
"arts_12423645",
"arts_12421230",
"arts_12419647",
"arts_12418801",
"about_7894",
"arts_12381231",
"arts_12385793",
"arts_12368326",
"arts_12358960",
"arts_12327437"
],
"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_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_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_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_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_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"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_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_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_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_700": {
"type": "terms",
"id": "arts_700",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "700",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticket alert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticket alert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 711,
"slug": "ticket-alert",
"isLoading": false,
"link": "/arts/tag/ticket-alert"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"about_15": {
"type": "terms",
"id": "about_15",
"meta": {
"index": "terms_1716263798",
"site": "about",
"id": "15",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Giveaways",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Giveaways | KQED",
"ogDescription": null
},
"ttid": 15,
"slug": "giveaways",
"isLoading": false,
"link": "/about/program/giveaways"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_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_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_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_3126": {
"type": "terms",
"id": "arts_3126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "represent",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "represent Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3138,
"slug": "represent",
"isLoading": false,
"link": "/arts/tag/represent"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
