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_13847094": {
"type": "attachments",
"id": "arts_13847094",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13847094",
"found": true
},
"parent": 13846816,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/Counterpulse.MAIN_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1544647607,
"modified": 1544647657,
"caption": "Karaoke number with Melissa Lewis (center) in 'I Dreamed Bruce Lee was My Father.'",
"description": "Karaoke number with Melissa Lewis (center) in 'I Dreamed Bruce Lee was My Father.'",
"title": "Counterpulse.MAIN",
"credit": "Robbie Sweeny",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13837149": {
"type": "attachments",
"id": "arts_13837149",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13837149",
"found": true
},
"parent": 13837148,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-960x641.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 641
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut.jpg",
"width": 1920,
"height": 1282
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-1020x681.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 681
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-1180x788.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 788
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-1200x801.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 801
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-1920x1282.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1282
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-1180x788.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 788
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-1920x1282.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1282
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-768x513.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 513
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31792_HTT_KevinBerne11-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1531532026,
"modified": 1531532093,
"caption": "Joel de la Fuente stars in TheatreWorks Silicon Valley's 2018/2019 season opener, the Bay Area premiere of Jeanne Sakata's \"Hold These Truths.\"",
"description": "Joel de la Fuente stars in TheatreWorks Silicon Valley's 2018/2019 season opener, the Bay Area premiere of Jeanne Sakata's \"Hold These Truths.\"",
"title": "RS31792_HTT_KevinBerne11-qut",
"credit": "Photo: Courtesy of Kevin Berne",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829261": {
"type": "attachments",
"id": "arts_13829261",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829261",
"found": true
},
"parent": 13828854,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/TheoAlvarez.MAIN_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523557308,
"modified": 1523561750,
"caption": "Theo Alvarez in San Francisco, where he works as a musician, teacher, graphic designer, photographer, rideshare driver, and many other roles.",
"description": "Theo Alvarez in San Francisco, where he works as a musician, teacher, graphic designer, photographer, rideshare driver, and many other roles.",
"title": "TheoAlvarez.MAIN",
"credit": "Graham Holoch",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13113403": {
"type": "attachments",
"id": "arts_13113403",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13113403",
"found": true
},
"parent": 13113401,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut.jpg",
"width": 1920,
"height": 1082
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-1920x1082.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1082
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-1920x1082.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1082
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/RS25034_Enlow_Parent_Skit-017-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1493234177,
"modified": 1493657392,
"caption": "Stanford psychiatrists use the maxim \"Show, don't tell,\" to demonstrate how parents can cultivate emotional closeness with their teenagers - or emotional distance. In this vignette, Dr. Rona Hu plays a mother who disapproves when her daughter, played by Dr. Grace Lee, brings home a non-Chinese boyfriend, playing by Dr. Francesco Dandekar.",
"description": "Stanford psychiatrists use the maxim \"Show, don't tell,\" to demonstrate how parents can cultivate emotional closeness with their teenagers - or emotional distance. In this vignette, Dr. Rona Hu plays a mother who disapproves when her daughter, played by Dr. Grace Lee, brings home a non-Chinese boyfriend, playing by Dr. Francesco Dandekar.",
"title": "RS25034_Enlow_Parent_Skit-017-qut",
"credit": "Photo: Jeff Enlow/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"ngluckstern": {
"type": "authors",
"id": "11497",
"meta": {
"index": "authors_1716337520",
"id": "11497",
"found": true
},
"name": "Nicole Gluckstern",
"firstName": "Nicole",
"lastName": "Gluckstern",
"slug": "ngluckstern",
"email": "gluckstern.nicole@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Nicole Gluckstern | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ngluckstern"
}
},
"pagesReducer": {
"arts_tag_asian-american": {
"type": "terms",
"id": "arts_4672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4672",
"score": 8.79375
},
"featImg": null,
"name": "Asian American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asian American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4684,
"slug": "asian-american",
"isLoading": false,
"title": "Asian American",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 6
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=asian-american",
"seeMore": false,
"paginated": true,
"page": 6
}
},
{
"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_13846816": {
"type": "posts",
"id": "arts_13846816",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13846816",
"score": null,
"sort": [
1544648426000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1544648426,
"format": "image",
"title": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity",
"headTitle": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s the sound of water that you notice first, walking into the mainstage space at CounterPulse. The gurgle of a flowing river, the persistent chatter of birds, the crunch of gravel. A voiceover describes the setting as it is now—“brown and overgrown…no place for bougie hipsters”—and as it was when Santa Cruz’ last Chinatown lined the San Lorenzo river: a litany of hands, bodies, and children playing in the river.\u003c/p>\n\u003cp>With that introduction, a woman (Cynthia Ling Lee) in denim overalls and plaid shirt from an earlier century begins to play too, leaping across and splashing in the imaginary water, her body ably capturing the unselfconsciousness of a small child.\u003c/p>\n\u003cfigure id=\"attachment_13847071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatownsDuet_credit_RobbieSweeny-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Ling Lee and Clarissa Dyas at play in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as with childhood, such idyll cannot last forever. With the introduction of a second dancer, the equally expressive Clarissa Dyas, the piece shifts tonally. As they skip across the stage they sing “Ten Little Chinamen,” mirroring each other, lightly mocking each other, feigning an innocence over the outrageous lyrics we can’t believe. An ominous rumble from Anna Friz’ soundscape weights the atmosphere as two more performers (Lynn Huang and Zoe Huey) enter the stage and help to bring Lee down in a cruel game.\u003c/p>\n\u003cfigure id=\"attachment_13847065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_quartet_credit_RobbieSweeny-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Lynn Huang, and Clarissa Dyas in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By turns playful, melancholy, and unflinching, \u003cem>Lost Chinatowns\u003c/em>—one of two pieces in CounterPulse’s \u003ca href=\"http://counterpulse.org/performing-diaspora/\" target=\"_blank\" rel=\"noopener\">Performing Diaspora\u003c/a> series—explores a forgotten history of the Chinese inhabitants of Santa Cruz, hidden in plain sight along the banks of the San Lorenzo river.\u003c/p>\n\u003cp>A professor of dance at UC Santa Cruz, Lee first became aware of the erasure of Santa Cruz’s Chinese community when she tried to buy food for cooking and couldn’t find the ingredients she needed. Home to four successive Chinatowns between 1860 and 1955, Santa Cruz has preserved little trace of its former inhabitants, to the point that not even an Asian grocery store survives. Lee’s initial frustration became an artistic inquiry, which led her to explore the San Lorenzo River, the virulent anti-immigrant language of the courts and politicians over the centuries, the poetry of the migrants, and the photographic essays of George Lee. Directed by herself and Shyamala Moorty, \u003cem>Lost Chinatowns\u003c/em> offers a space for reflection and reckoning, revealing the ways the past continues to inform the modern day.\u003c/p>\n\u003cfigure id=\"attachment_13847070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_Bowls_credit_RobbieSweeney-800x364.jpg\" alt=\"\" width=\"800\" height=\"364\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Clarissa Dyas, and Lynn Huang using dishes as percussion instruments in ‘Lost Chinatowns.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are some fast facts about Bruce Lee. One of his legs was shorter than the other. He once won a cha-cha dancing competition. He had his underarm sweat glands surgically removed. His childhood nickname was “never-sit-still.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Melissa Lewis’ \u003cem>I Dreamed Bruce Lee was My Father\u003c/em>, the mythology of one of the United States’ first Asian-American superstars is deconstructed and examined. In Lewis’ multimedia collaboration, three performers (Lewis, Kim Ip, and Nina Wu) pay homage to the man without making him a martyr. By turns humorous (as when they swoon theatrically together as they intone their muses’ name) and heartfelt (as when Lewis dons sparring guards and demands loudly to fight, isolated by a pool of light), \u003cem>I Dreamed Bruce Lee was My Father\u003c/em> imbues hero worship with humanity—and humanity with heroism.\u003c/p>\n\u003cfigure id=\"attachment_13847068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_MelissaLewis_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis is ready to fight in ‘I Dreamed Bruce Lee was My Father.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An online interview with Lewis, herself of mixed-race heritage, reveals that she really did have a dream in which she and Bruce Lee puttered around the house in a series of mundane activities, just as if they were a father and daughter going about their day. From this first glimpse of Lee’s human side and her feeling of connection to it, a performance piece evolved. Incorporating martial arts technique, Chinese opera makeup, drag, a raucous karaoke segment, movie clips, video games, an elaborate memorial shrine, and a lyrical ode to a buffed-out cardboard-cutout Bruce Lee, the piece virtually explodes with ideas.\u003c/p>\n\u003cfigure id=\"attachment_13847063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_HiKick_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis, Nina Wu, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of those ideas don’t entirely cohere. At one point Wu tells Lee that she is in awe of him “but not without criticism,” never elucidating those critiques. During the karaoke number, the racism underpinning the song “Kung-Fu Fighting” is taken to task briefly—but it doesn’t lead to a greater revelation of the persistence of outmoded stereotypes. We get the soundbite, but not the deep dive.\u003c/p>\n\u003cp>Taken together, though, the two pieces complement each other admirably. Although developed separately, they work in tandem to cover over 150 years of Asian-American identity in one short hour: from the anonymous migrant poets of the 1800s, to the mixed martial arts aficionados of today.\u003c/p>\n\u003cfigure id=\"attachment_13847067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_NinaWu_MelissaLewis_KimIp_credit_RobbieSweeny-800x493.jpg\" alt=\"\" width=\"800\" height=\"493\">\u003cfigcaption class=\"wp-caption-text\">Nina Wu, Melissa Lewis, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse has long been a home for passionate and politicized explorations of societal frameworks, and their Performing Diaspora residency encourages artists working in traditional mediums to explore their artistic heritage for a modern audience. Grappling with big picture questions of identity, erasure, and evolution, Performing Diaspora is for everyone who dares to ask those questions for which no single answer exists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lost Chinatowns’ and ‘I Dreamed Bruce Lee was My Father’ continue Dec. 13–15 at CounterPulse in San Francisco. \u003ca href=\"http://counterpulse.org/event/performing-diaspora-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 974,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705026867,
"excerpt": "'I Dreamed Bruce Lee was My Father' and 'Lost Chinatowns' grapple with big picture questions of identity, erasure, and evolution.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'I Dreamed Bruce Lee was My Father' and 'Lost Chinatowns' grapple with big picture questions of identity, erasure, and evolution.",
"title": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity",
"datePublished": "2018-12-12T13:00:26-08:00",
"dateModified": "2024-01-11T18:34:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "two-shows-at-counterpulse-offer-nuanced-portrait-of-asian-american-identity",
"status": "publish",
"sticky": false,
"path": "/arts/13846816/two-shows-at-counterpulse-offer-nuanced-portrait-of-asian-american-identity",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s the sound of water that you notice first, walking into the mainstage space at CounterPulse. The gurgle of a flowing river, the persistent chatter of birds, the crunch of gravel. A voiceover describes the setting as it is now—“brown and overgrown…no place for bougie hipsters”—and as it was when Santa Cruz’ last Chinatown lined the San Lorenzo river: a litany of hands, bodies, and children playing in the river.\u003c/p>\n\u003cp>With that introduction, a woman (Cynthia Ling Lee) in denim overalls and plaid shirt from an earlier century begins to play too, leaping across and splashing in the imaginary water, her body ably capturing the unselfconsciousness of a small child.\u003c/p>\n\u003cfigure id=\"attachment_13847071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatownsDuet_credit_RobbieSweeny-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Ling Lee and Clarissa Dyas at play in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as with childhood, such idyll cannot last forever. With the introduction of a second dancer, the equally expressive Clarissa Dyas, the piece shifts tonally. As they skip across the stage they sing “Ten Little Chinamen,” mirroring each other, lightly mocking each other, feigning an innocence over the outrageous lyrics we can’t believe. An ominous rumble from Anna Friz’ soundscape weights the atmosphere as two more performers (Lynn Huang and Zoe Huey) enter the stage and help to bring Lee down in a cruel game.\u003c/p>\n\u003cfigure id=\"attachment_13847065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_quartet_credit_RobbieSweeny-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Lynn Huang, and Clarissa Dyas in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By turns playful, melancholy, and unflinching, \u003cem>Lost Chinatowns\u003c/em>—one of two pieces in CounterPulse’s \u003ca href=\"http://counterpulse.org/performing-diaspora/\" target=\"_blank\" rel=\"noopener\">Performing Diaspora\u003c/a> series—explores a forgotten history of the Chinese inhabitants of Santa Cruz, hidden in plain sight along the banks of the San Lorenzo river.\u003c/p>\n\u003cp>A professor of dance at UC Santa Cruz, Lee first became aware of the erasure of Santa Cruz’s Chinese community when she tried to buy food for cooking and couldn’t find the ingredients she needed. Home to four successive Chinatowns between 1860 and 1955, Santa Cruz has preserved little trace of its former inhabitants, to the point that not even an Asian grocery store survives. Lee’s initial frustration became an artistic inquiry, which led her to explore the San Lorenzo River, the virulent anti-immigrant language of the courts and politicians over the centuries, the poetry of the migrants, and the photographic essays of George Lee. Directed by herself and Shyamala Moorty, \u003cem>Lost Chinatowns\u003c/em> offers a space for reflection and reckoning, revealing the ways the past continues to inform the modern day.\u003c/p>\n\u003cfigure id=\"attachment_13847070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_Bowls_credit_RobbieSweeney-800x364.jpg\" alt=\"\" width=\"800\" height=\"364\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Clarissa Dyas, and Lynn Huang using dishes as percussion instruments in ‘Lost Chinatowns.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are some fast facts about Bruce Lee. One of his legs was shorter than the other. He once won a cha-cha dancing competition. He had his underarm sweat glands surgically removed. His childhood nickname was “never-sit-still.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Melissa Lewis’ \u003cem>I Dreamed Bruce Lee was My Father\u003c/em>, the mythology of one of the United States’ first Asian-American superstars is deconstructed and examined. In Lewis’ multimedia collaboration, three performers (Lewis, Kim Ip, and Nina Wu) pay homage to the man without making him a martyr. By turns humorous (as when they swoon theatrically together as they intone their muses’ name) and heartfelt (as when Lewis dons sparring guards and demands loudly to fight, isolated by a pool of light), \u003cem>I Dreamed Bruce Lee was My Father\u003c/em> imbues hero worship with humanity—and humanity with heroism.\u003c/p>\n\u003cfigure id=\"attachment_13847068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_MelissaLewis_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis is ready to fight in ‘I Dreamed Bruce Lee was My Father.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An online interview with Lewis, herself of mixed-race heritage, reveals that she really did have a dream in which she and Bruce Lee puttered around the house in a series of mundane activities, just as if they were a father and daughter going about their day. From this first glimpse of Lee’s human side and her feeling of connection to it, a performance piece evolved. Incorporating martial arts technique, Chinese opera makeup, drag, a raucous karaoke segment, movie clips, video games, an elaborate memorial shrine, and a lyrical ode to a buffed-out cardboard-cutout Bruce Lee, the piece virtually explodes with ideas.\u003c/p>\n\u003cfigure id=\"attachment_13847063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_HiKick_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis, Nina Wu, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of those ideas don’t entirely cohere. At one point Wu tells Lee that she is in awe of him “but not without criticism,” never elucidating those critiques. During the karaoke number, the racism underpinning the song “Kung-Fu Fighting” is taken to task briefly—but it doesn’t lead to a greater revelation of the persistence of outmoded stereotypes. We get the soundbite, but not the deep dive.\u003c/p>\n\u003cp>Taken together, though, the two pieces complement each other admirably. Although developed separately, they work in tandem to cover over 150 years of Asian-American identity in one short hour: from the anonymous migrant poets of the 1800s, to the mixed martial arts aficionados of today.\u003c/p>\n\u003cfigure id=\"attachment_13847067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_NinaWu_MelissaLewis_KimIp_credit_RobbieSweeny-800x493.jpg\" alt=\"\" width=\"800\" height=\"493\">\u003cfigcaption class=\"wp-caption-text\">Nina Wu, Melissa Lewis, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse has long been a home for passionate and politicized explorations of societal frameworks, and their Performing Diaspora residency encourages artists working in traditional mediums to explore their artistic heritage for a modern audience. Grappling with big picture questions of identity, erasure, and evolution, Performing Diaspora is for everyone who dares to ask those questions for which no single answer exists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lost Chinatowns’ and ‘I Dreamed Bruce Lee was My Father’ continue Dec. 13–15 at CounterPulse in San Francisco. \u003ca href=\"http://counterpulse.org/event/performing-diaspora-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13846816/two-shows-at-counterpulse-offer-nuanced-portrait-of-asian-american-identity",
"authors": [
"11497"
],
"categories": [
"arts_966",
"arts_967"
],
"tags": [
"arts_4672",
"arts_1018",
"arts_1118",
"arts_596"
],
"featImg": "arts_13847094",
"label": "arts"
},
"arts_13837148": {
"type": "posts",
"id": "arts_13837148",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13837148",
"score": null,
"sort": [
1531573222000
]
},
"guestAuthors": [],
"slug": "hold-these-truths-remembers-one-mans-refusal-to-cede-his-civil-rights-during-wwii",
"title": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII",
"publishDate": 1531573222,
"format": "audio",
"headTitle": "‘Hold These Truths’ Remembers One Man’s Refusal to Cede His Civil Rights During WWII | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=H-Gi2BMEYqA]\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new performance of the play revisits the mass incarceration of Japanese Americans by the Roosevelt Administration with Executive Order 9066.",
"status": "publish",
"parent": 0,
"modified": 1726771035,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1241
},
"headData": {
"title": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII | KQED",
"description": "A new performance of the play revisits the mass incarceration of Japanese Americans by the Roosevelt Administration with Executive Order 9066.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII",
"datePublished": "2018-07-14T06:00:22-07:00",
"dateModified": "2024-09-19T11:37:15-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/07/MyrowWWII.mp3",
"sticky": false,
"audioTrackLength": 113,
"path": "/arts/13837148/hold-these-truths-remembers-one-mans-refusal-to-cede-his-civil-rights-during-wwii",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H-Gi2BMEYqA'\n title='//www.youtube.com/embed/H-Gi2BMEYqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\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>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13837148/hold-these-truths-remembers-one-mans-refusal-to-cede-his-civil-rights-during-wwii",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_4672",
"arts_1118",
"arts_2640",
"arts_596",
"arts_1315",
"arts_4642",
"arts_3001",
"arts_5166",
"arts_5165",
"arts_5164",
"arts_1815"
],
"featImg": "arts_13837149",
"label": "arts_140"
},
"arts_13828854": {
"type": "posts",
"id": "arts_13828854",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828854",
"score": null,
"sort": [
1523563367000
]
},
"guestAuthors": [],
"slug": "the-hustle-how-many-jobs-does-a-musician-have-to-work-to-stay-in-san-francisco",
"title": "How Many Jobs Does a Musician Need To Stay in San Francisco?",
"publishDate": 1523563367,
"format": "standard",
"headTitle": "How Many Jobs Does a Musician Need To Stay in San Francisco? | KQED",
"labelTerm": {
"term": 4525,
"site": "arts"
},
"content": "\u003cp>Theo Alvarez says he gets six hours sleep a night. But it’s hard to imagine how he even sleeps at all.\u003c/p>\n\u003cfigure id=\"attachment_13829262\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg\" alt=\"By the numbers\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his creative pursuits as \u003ca href=\"https://about.me/jibril.alvarez\" target=\"_blank\" rel=\"noopener\">a jazz pianist, music producer, bandleader, photographer and multimedia performance artist\u003c/a>, the 29-year-old San Franciscan works as a facility manager and docent at the \u003ca href=\"https://manilatown.org/\" target=\"_blank\" rel=\"noopener\">I-Hotel Manilatown Center\u003c/a> (a historical landmark and community activism hub in North Beach), does freelance graphic and web design, drives for Uber and Lyft, and recently launched an organic fruit delivery business.\u003c/p>\n\u003cp>“I sleep when the fruit runs out,” he says. \u003c/p>\n\u003cp>Alvarez eats a raw vegan diet, so his new business enables him to eat mostly for free. “I buy in bulk, and then I sell it to make the money back, and then still have some left over to sustain me,” he says, adding that he spends up to $300 a week on produce.\u003c/p>\n\u003cfigure id=\"attachment_13829270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg\" alt=\"Theo Alvarez at the I-Hotel Manilatown Center, where he teaches.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez at the I-Hotel Manilatown Center, where he works as a facility manager and docent. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Alvarez’s exceedingly healthy, low-cost diet, making ends meet in order to continue to live in his hometown is an exhausting, ongoing challenge. “I’ve definitely forgotten to take time out, running around trying to do this and trying to do that,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, Alvarez says he earned around $45,000. Most of his earnings came from driving people around the city for Uber and Lyft, so his car-related expenses are, unsurprisingly, steep. He finances his 2015 Subaru at $700 a month. Then there’s $200 in car insurance and at least $150 in gas. As for housing, he pays $1,700 in monthly rent, plus $100 in renter’s insurance.\u003c/p>\n\u003ch2>A place to call home\u003c/h2>\n\u003cp>Finding affordable housing was, until recently, Alvarez’s biggest challenge. The combination of the stratospheric Bay Area rental market, the piecemeal nature of his work, and a low credit score made it hard for Alvarez to sign a lease on an apartment. For years, he floated between month-to-month roommate situations in the East Bay, the North Bay and San Francisco. “There were times in between renting different places where I was forced to rely on the kindness of family and friends,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13829269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg\" alt=\"Theo Alvarez on revolving loans: 'Over time, it just eats away at your income.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez on revolving loans: ‘Over time, it just eats away at your income.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarez’s financial stability took a turn for the worse when he got into a cycle of taking out short term micro-loans to cover his costs. “That’s why it’s called a revolving loan, because people take the loan out and then they pay it back and take it out again,” he explains. “Over time, it just eats away at your income. I would highly advise against it.”\u003c/p>\n\u003cp>Happily, Alvarez was recently able to get on top of his finances after some coaching from the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a>, a non-profit, low-income advocacy organization based in the Mission. He cleared up his credit score and was able to sign a one-year lease on a live-work studio in downtown San Francisco, just blocks away from his job at the I-Hotel Manilatown Center.\u003c/p>\n\u003cp>Alvarez says having his own digs is a game-changer. “In all my experience of struggling to do what I do, I can say without a doubt that in order to develop and produce art, space is an extremely crucial element,” he says. “A safe, physical place for the artist’s vision to take shape, and a space where it can be shared with and enjoyed by others.”\u003c/p>\n\u003cfigure id=\"attachment_13828869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg\" alt=\"Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Defying ‘starving artist’ syndrome\u003c/h2>\n\u003cp>Down the line, Alvarez says he’d like to one day buy his own home and raise a family. But for now, he’s focused on growing his fruit business and trying to get more lucrative media and design gigs, perhaps in the tech industry. Though he enjoys driving, he’d like to do it less. “I feel like my time and talents could definitely be put in other areas,” Alvarez says.\u003c/p>\n\u003cp>And while life has been tough on some fronts, Alvarez is committed to staying in the Bay Area.\u003c/p>\n\u003cp>For one thing, he’s proud of his local roots as a first-generation, American-born Filipino who earned his education at \u003ca href=\"http://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco State University\u003c/a> and \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a>. “English is my native language,” he says. “But I also speak and study Tagalog, Spanish, Japanese and Chinese due to growing up in the multi-ethnic environment that is San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another, Alvarez doesn’t see his future in San Francisco as that of the stereotypical “starving artist.” In recent years, he says he’s met people who are able to sustain successful artistic careers in the city, which has given him hope.\u003c/p>\n\u003cp>“I think the biggest shock is discovering that you can make it as an artist in the Bay Area,” he says. “I’ve met artists who have gone through the wringer, and they were able to get into a situation where they are living comfortably. I realized this is definitely possible. It’s doable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "Living in San Francisco on $45,000 a year, Theo Alvarez somehow gets six hours of sleep a night working numerous side gigs.",
"status": "publish",
"parent": 0,
"modified": 1726771165,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 932
},
"headData": {
"title": "How Many Jobs Does a Musician Need To Stay in San Francisco? | KQED",
"description": "Living in San Francisco on $45,000 a year, Theo Alvarez somehow gets six hours of sleep a night working numerous side gigs.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How Many Jobs Does a Musician Need To Stay in San Francisco?",
"datePublished": "2018-04-12T13:02:47-07:00",
"dateModified": "2024-09-19T11:39:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13828854/the-hustle-how-many-jobs-does-a-musician-have-to-work-to-stay-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theo Alvarez says he gets six hours sleep a night. But it’s hard to imagine how he even sleeps at all.\u003c/p>\n\u003cfigure id=\"attachment_13829262\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg\" alt=\"By the numbers\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his creative pursuits as \u003ca href=\"https://about.me/jibril.alvarez\" target=\"_blank\" rel=\"noopener\">a jazz pianist, music producer, bandleader, photographer and multimedia performance artist\u003c/a>, the 29-year-old San Franciscan works as a facility manager and docent at the \u003ca href=\"https://manilatown.org/\" target=\"_blank\" rel=\"noopener\">I-Hotel Manilatown Center\u003c/a> (a historical landmark and community activism hub in North Beach), does freelance graphic and web design, drives for Uber and Lyft, and recently launched an organic fruit delivery business.\u003c/p>\n\u003cp>“I sleep when the fruit runs out,” he says. \u003c/p>\n\u003cp>Alvarez eats a raw vegan diet, so his new business enables him to eat mostly for free. “I buy in bulk, and then I sell it to make the money back, and then still have some left over to sustain me,” he says, adding that he spends up to $300 a week on produce.\u003c/p>\n\u003cfigure id=\"attachment_13829270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg\" alt=\"Theo Alvarez at the I-Hotel Manilatown Center, where he teaches.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez at the I-Hotel Manilatown Center, where he works as a facility manager and docent. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Alvarez’s exceedingly healthy, low-cost diet, making ends meet in order to continue to live in his hometown is an exhausting, ongoing challenge. “I’ve definitely forgotten to take time out, running around trying to do this and trying to do that,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, Alvarez says he earned around $45,000. Most of his earnings came from driving people around the city for Uber and Lyft, so his car-related expenses are, unsurprisingly, steep. He finances his 2015 Subaru at $700 a month. Then there’s $200 in car insurance and at least $150 in gas. As for housing, he pays $1,700 in monthly rent, plus $100 in renter’s insurance.\u003c/p>\n\u003ch2>A place to call home\u003c/h2>\n\u003cp>Finding affordable housing was, until recently, Alvarez’s biggest challenge. The combination of the stratospheric Bay Area rental market, the piecemeal nature of his work, and a low credit score made it hard for Alvarez to sign a lease on an apartment. For years, he floated between month-to-month roommate situations in the East Bay, the North Bay and San Francisco. “There were times in between renting different places where I was forced to rely on the kindness of family and friends,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13829269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg\" alt=\"Theo Alvarez on revolving loans: 'Over time, it just eats away at your income.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez on revolving loans: ‘Over time, it just eats away at your income.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarez’s financial stability took a turn for the worse when he got into a cycle of taking out short term micro-loans to cover his costs. “That’s why it’s called a revolving loan, because people take the loan out and then they pay it back and take it out again,” he explains. “Over time, it just eats away at your income. I would highly advise against it.”\u003c/p>\n\u003cp>Happily, Alvarez was recently able to get on top of his finances after some coaching from the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a>, a non-profit, low-income advocacy organization based in the Mission. He cleared up his credit score and was able to sign a one-year lease on a live-work studio in downtown San Francisco, just blocks away from his job at the I-Hotel Manilatown Center.\u003c/p>\n\u003cp>Alvarez says having his own digs is a game-changer. “In all my experience of struggling to do what I do, I can say without a doubt that in order to develop and produce art, space is an extremely crucial element,” he says. “A safe, physical place for the artist’s vision to take shape, and a space where it can be shared with and enjoyed by others.”\u003c/p>\n\u003cfigure id=\"attachment_13828869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg\" alt=\"Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Defying ‘starving artist’ syndrome\u003c/h2>\n\u003cp>Down the line, Alvarez says he’d like to one day buy his own home and raise a family. But for now, he’s focused on growing his fruit business and trying to get more lucrative media and design gigs, perhaps in the tech industry. Though he enjoys driving, he’d like to do it less. “I feel like my time and talents could definitely be put in other areas,” Alvarez says.\u003c/p>\n\u003cp>And while life has been tough on some fronts, Alvarez is committed to staying in the Bay Area.\u003c/p>\n\u003cp>For one thing, he’s proud of his local roots as a first-generation, American-born Filipino who earned his education at \u003ca href=\"http://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco State University\u003c/a> and \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a>. “English is my native language,” he says. “But I also speak and study Tagalog, Spanish, Japanese and Chinese due to growing up in the multi-ethnic environment that is San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another, Alvarez doesn’t see his future in San Francisco as that of the stereotypical “starving artist.” In recent years, he says he’s met people who are able to sustain successful artistic careers in the city, which has given him hope.\u003c/p>\n\u003cp>“I think the biggest shock is discovering that you can make it as an artist in the Bay Area,” he says. “I’ve met artists who have gone through the wringer, and they were able to get into a situation where they are living comfortably. I realized this is definitely possible. It’s doable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828854/the-hustle-how-many-jobs-does-a-musician-have-to-work-to-stay-in-san-francisco",
"authors": [
"8608"
],
"series": [
"arts_4525"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_4672",
"arts_1119",
"arts_1118",
"arts_596",
"arts_4213"
],
"featImg": "arts_13829261",
"label": "arts_4525"
},
"arts_13113401": {
"type": "posts",
"id": "arts_13113401",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13113401",
"score": null,
"sort": [
1493650851000
]
},
"guestAuthors": [],
"slug": "stanford-psychiatrists-take-to-the-stage",
"title": "Stanford Psychiatrists Take to the Stage",
"publishDate": 1493650851,
"format": "audio",
"headTitle": "Stanford Psychiatrists Take to the Stage | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In Palo Alto, where Asian Americans make up nearly 40 percent of the \u003ca href=\"https://www.pausd.org/sites/default/files/pdn-news/attachments/Elementary%20Enrollment%20Demographics.pdf\" target=\"_blank\" rel=\"noopener\">student population\u003c/a>, they also make up roughly 40 percent of youth suicides over the last decade. And in just the last two years, four out of five teen suicides in Palo Alto have been East Asian kids.\u003c/p>\n\u003cp>But many parents are first-generation immigrants, leery of acknowledging and addressing mental health problems. So psychiatrists at \u003ca href=\"http://www.stanfordchipao.com/\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> are turning to an unlikely art form to start the conversation: theater.\u003c/p>\n\u003cp>“A lot of parents are reluctant to talk about their own feelings,” says \u003ca href=\"https://med.stanford.edu/profiles/rona-hu\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a second-generation Chinese American Stanford psychiatrist and the main force behind a volunteer theater troupe whose job it is to model good parenting techniques informed by American psychiatry. “Immigrant parents often aren’t aware of or prepared for the way that their teenagers behave in this culture, because it’s so different from the way that they were raised.”\u003c/p>\n\u003cfigure id=\"attachment_13113614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113614 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg\" alt=\"Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hu, who has no performing arts training beyond one drama class in 9th grade, came up with the idea of theatrical, therapeutic vignettes in 2015 while making the rounds as a speaker on mental health at local schools. Parents would come up to her after lectures and panel discussions and ask for more practical help. “You can \u003cem>tell\u003c/em> us to communicate better with our teenagers,” Hu says of her interactions with parents. “But \u003cem>show\u003c/em> us. How do we do it?”\u003c/p>\n\u003cp>She was also inspired by her days as a resident at the University of California, San Francisco (UCSF), where faculty members used theatrical vignettes to help young doctors learn how to interact with difficult patients. During these sessions, teachers would act out a negative exchange, talk in character about what went wrong, and then reenact the scene to demonstrate a better outcome.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hu’s theater troupe is comprised mostly of medical professionals who write and perform skits inspired by their first and second-generation immigrant experience. They’ve been performing since March of 2016.\u003c/p>\n\u003cfigure id=\"attachment_13113615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13113615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg\" alt='In \"Awkward Hug,\" a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Awkward Hug,” a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent evening, the troupe performed at Jordan Middle School in Palo Alto for an audience of roughly 100 parents.\u003c/p>\n\u003cp>With the barest of sets and costumes, the cast – most of them medical professionals – played out six uncomfortable conversations, covering topics like bad language, poor test scores, and depression.\u003c/p>\n\u003cp>In the staged scenes, the parents all love their children, but their tendency to respond with shock, anger or denial drives an emotional wedge between the generations.\u003c/p>\n\u003cp>Though the scenes are often played broadly for laughs, they also reflect real-life experience. Hu says, “I’ve had any number of parents coming up to me with tears rolling down their cheeks, saying, ‘That vignette was my life.’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vignettes for Asian Parents of Teens - "What's Wrong With You!"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/3FFMhUEzB9A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As with the skits at UCSF, a moderator “interviews” the actors after their scene, so they can explain the psychological underpinnings of the argument. The audience also has an opportunity to weigh in with questions.\u003c/p>\n\u003cp>Then, the actor-psychiatrists model on stage what good parenting looks like. The father who first berated his son for failing another math test offers sympathy and practical solutions instead. The mother who first laughed off her daughter’s depression now agrees to help her consult a medical professional.\u003c/p>\n\u003cp>The overall idea of the theater project is to get parents talking about applying emotional intelligence to their daily interactions with their children. “’What’s wrong, sweetie?’ versus ‘What’s wrong with you?’ which sounds accusatory,” Hu says. “Especially if they’ve been raised in a culture where it was taboo to talk about feelings, these are skills that will take some work to acquire.”\u003c/p>\n\u003cfigure id=\"attachment_13113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113823 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg\" alt='In \"Just Be Happy,\" Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Just Be Happy,” Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal researchers who \u003ca href=\"https://www.sccgov.org/sites/sccphd/en-us/Partners/collabproj/epi-aid/Pages/epi-aid.aspx\" target=\"_blank\" rel=\"noopener\">delved into the data\u003c/a> found many teen suicides in Palo Alto in recent years had underlying mental health issues. Each case is unique, but Hu says a child that feels his or her parent is an ally is less likely to hide problems that could develop into something serious, or even life-threatening.\u003c/p>\n\u003cp>“If the parent knows about the issue, then they can do something about it,” Hu says. “But if they don’t know, then there’s really nothing they can do.”\u003c/p>\n\u003cp>Gloria Zhang, a Palo Alto parent present at the Jordan Middle School event, says she doesn’t want to wait till there’s a crisis to develop a better relationship with her middle schooler. She says she feels like she could use more training to talk to her son without losing her temper. “I want to improve; communicate with him better, to let him to understand I love him,” Zhang says. “I want him healthy.”\u003c/p>\n\u003cfigure id=\"attachment_13113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg\" alt='In \"Party Dress,\" Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Party Dress,” Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling isn’t limited to East Asian parents. By popular demand, the troupe has expanded its audience base to include Latino and South Asian families.\u003c/p>\n\u003cp>The Stanford psychiatrists are currently applying for grants to study whether the skits work in a scientific sense — as well as a theatrical one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford psychiatrists perform next for the American Psychiatric Association Saturday, May 20, in San Diego. More info \u003ca href=\"https://www.psychiatry.org/psychiatrists/meetings/annual-meeting\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In Palo Alto, where Asian Americans make up roughly 40 percent of youth suicides, Stanford psychiatrists are writing and performing skits aimed at educating parents to have more productive conversations with their children.",
"status": "publish",
"parent": 0,
"modified": 1729112036,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1023
},
"headData": {
"title": "Stanford Psychiatrists Take to the Stage | KQED",
"description": "In Palo Alto, where Asian Americans make up roughly 40 percent of youth suicides, Stanford psychiatrists are writing and performing skits aimed at educating parents to have more productive conversations with their children.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Stanford Psychiatrists Take to the Stage",
"datePublished": "2017-05-01T08:00:51-07:00",
"dateModified": "2024-10-16T13:53:56-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "http://www.kqed.org/.stream/anon/radio/tcr/2017/05/MentalHealthTheatre170501.mp3",
"sticky": false,
"path": "/arts/13113401/stanford-psychiatrists-take-to-the-stage",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Palo Alto, where Asian Americans make up nearly 40 percent of the \u003ca href=\"https://www.pausd.org/sites/default/files/pdn-news/attachments/Elementary%20Enrollment%20Demographics.pdf\" target=\"_blank\" rel=\"noopener\">student population\u003c/a>, they also make up roughly 40 percent of youth suicides over the last decade. And in just the last two years, four out of five teen suicides in Palo Alto have been East Asian kids.\u003c/p>\n\u003cp>But many parents are first-generation immigrants, leery of acknowledging and addressing mental health problems. So psychiatrists at \u003ca href=\"http://www.stanfordchipao.com/\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> are turning to an unlikely art form to start the conversation: theater.\u003c/p>\n\u003cp>“A lot of parents are reluctant to talk about their own feelings,” says \u003ca href=\"https://med.stanford.edu/profiles/rona-hu\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a second-generation Chinese American Stanford psychiatrist and the main force behind a volunteer theater troupe whose job it is to model good parenting techniques informed by American psychiatry. “Immigrant parents often aren’t aware of or prepared for the way that their teenagers behave in this culture, because it’s so different from the way that they were raised.”\u003c/p>\n\u003cfigure id=\"attachment_13113614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113614 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg\" alt=\"Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hu, who has no performing arts training beyond one drama class in 9th grade, came up with the idea of theatrical, therapeutic vignettes in 2015 while making the rounds as a speaker on mental health at local schools. Parents would come up to her after lectures and panel discussions and ask for more practical help. “You can \u003cem>tell\u003c/em> us to communicate better with our teenagers,” Hu says of her interactions with parents. “But \u003cem>show\u003c/em> us. How do we do it?”\u003c/p>\n\u003cp>She was also inspired by her days as a resident at the University of California, San Francisco (UCSF), where faculty members used theatrical vignettes to help young doctors learn how to interact with difficult patients. During these sessions, teachers would act out a negative exchange, talk in character about what went wrong, and then reenact the scene to demonstrate a better outcome.\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>Hu’s theater troupe is comprised mostly of medical professionals who write and perform skits inspired by their first and second-generation immigrant experience. They’ve been performing since March of 2016.\u003c/p>\n\u003cfigure id=\"attachment_13113615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13113615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg\" alt='In \"Awkward Hug,\" a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Awkward Hug,” a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent evening, the troupe performed at Jordan Middle School in Palo Alto for an audience of roughly 100 parents.\u003c/p>\n\u003cp>With the barest of sets and costumes, the cast – most of them medical professionals – played out six uncomfortable conversations, covering topics like bad language, poor test scores, and depression.\u003c/p>\n\u003cp>In the staged scenes, the parents all love their children, but their tendency to respond with shock, anger or denial drives an emotional wedge between the generations.\u003c/p>\n\u003cp>Though the scenes are often played broadly for laughs, they also reflect real-life experience. Hu says, “I’ve had any number of parents coming up to me with tears rolling down their cheeks, saying, ‘That vignette was my life.’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vignettes for Asian Parents of Teens - "What's Wrong With You!"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/3FFMhUEzB9A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As with the skits at UCSF, a moderator “interviews” the actors after their scene, so they can explain the psychological underpinnings of the argument. The audience also has an opportunity to weigh in with questions.\u003c/p>\n\u003cp>Then, the actor-psychiatrists model on stage what good parenting looks like. The father who first berated his son for failing another math test offers sympathy and practical solutions instead. The mother who first laughed off her daughter’s depression now agrees to help her consult a medical professional.\u003c/p>\n\u003cp>The overall idea of the theater project is to get parents talking about applying emotional intelligence to their daily interactions with their children. “’What’s wrong, sweetie?’ versus ‘What’s wrong with you?’ which sounds accusatory,” Hu says. “Especially if they’ve been raised in a culture where it was taboo to talk about feelings, these are skills that will take some work to acquire.”\u003c/p>\n\u003cfigure id=\"attachment_13113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113823 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg\" alt='In \"Just Be Happy,\" Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Just Be Happy,” Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal researchers who \u003ca href=\"https://www.sccgov.org/sites/sccphd/en-us/Partners/collabproj/epi-aid/Pages/epi-aid.aspx\" target=\"_blank\" rel=\"noopener\">delved into the data\u003c/a> found many teen suicides in Palo Alto in recent years had underlying mental health issues. Each case is unique, but Hu says a child that feels his or her parent is an ally is less likely to hide problems that could develop into something serious, or even life-threatening.\u003c/p>\n\u003cp>“If the parent knows about the issue, then they can do something about it,” Hu says. “But if they don’t know, then there’s really nothing they can do.”\u003c/p>\n\u003cp>Gloria Zhang, a Palo Alto parent present at the Jordan Middle School event, says she doesn’t want to wait till there’s a crisis to develop a better relationship with her middle schooler. She says she feels like she could use more training to talk to her son without losing her temper. “I want to improve; communicate with him better, to let him to understand I love him,” Zhang says. “I want him healthy.”\u003c/p>\n\u003cfigure id=\"attachment_13113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg\" alt='In \"Party Dress,\" Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Party Dress,” Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling isn’t limited to East Asian parents. By popular demand, the troupe has expanded its audience base to include Latino and South Asian families.\u003c/p>\n\u003cp>The Stanford psychiatrists are currently applying for grants to study whether the skits work in a scientific sense — as well as a theatrical one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford psychiatrists perform next for the American Psychiatric Association Saturday, May 20, in San Diego. More info \u003ca href=\"https://www.psychiatry.org/psychiatrists/meetings/annual-meeting\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13113401/stanford-psychiatrists-take-to-the-stage",
"authors": [
"251"
],
"categories": [
"arts_22352",
"arts_235",
"arts_967"
],
"tags": [
"arts_4672",
"arts_5391",
"arts_1119",
"arts_1118",
"arts_1773",
"arts_4670",
"arts_596",
"arts_4642",
"arts_3001"
],
"featImg": "arts_13113403",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=asian-american": {
"isFetching": false,
"latestQuery": {
"from": 60,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 4,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 64,
"relation": "eq"
},
"items": [
"arts_13846816",
"arts_13837148",
"arts_13828854",
"arts_13113401"
],
"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_tag_asian-american": {
"isLoading": true
},
"arts_4672": {
"type": "terms",
"id": "arts_4672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4672",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Asian American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asian American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4684,
"slug": "asian-american",
"isLoading": false,
"link": "/arts/tag/asian-american"
},
"arts_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_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_1018": {
"type": "terms",
"id": "arts_1018",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1018",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Counterpulse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Counterpulse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1035,
"slug": "counterpulse",
"isLoading": false,
"link": "/arts/tag/counterpulse"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_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_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_2640": {
"type": "terms",
"id": "arts_2640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2652,
"slug": "history",
"isLoading": false,
"link": "/arts/tag/history"
},
"arts_1315": {
"type": "terms",
"id": "arts_1315",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1315",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Palo Alto",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Palo Alto Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1327,
"slug": "palo-alto",
"isLoading": false,
"link": "/arts/tag/palo-alto"
},
"arts_4642": {
"type": "terms",
"id": "arts_4642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rachael Myrow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rachael Myrow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4654,
"slug": "rachael-myrow",
"isLoading": false,
"link": "/arts/tag/rachael-myrow"
},
"arts_3001": {
"type": "terms",
"id": "arts_3001",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3001",
"found": true
},
"relationships": {},
"featImg": null,
"name": "silicon valley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "silicon valley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3013,
"slug": "silicon-valley",
"isLoading": false,
"link": "/arts/tag/silicon-valley"
},
"arts_5166": {
"type": "terms",
"id": "arts_5166",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5166",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SiliconValley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SiliconValley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5178,
"slug": "siliconvalley",
"isLoading": false,
"link": "/arts/tag/siliconvalley"
},
"arts_5165": {
"type": "terms",
"id": "arts_5165",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5165",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SV Feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SV Feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5177,
"slug": "sv-feature",
"isLoading": false,
"link": "/arts/tag/sv-feature"
},
"arts_5164": {
"type": "terms",
"id": "arts_5164",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SVCulture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SVCulture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5176,
"slug": "svculture",
"isLoading": false,
"link": "/arts/tag/svculture"
},
"arts_1815": {
"type": "terms",
"id": "arts_1815",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1815",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theatreworks silicon valley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theatreworks silicon valley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1827,
"slug": "theatreworks-silicon-valley",
"isLoading": false,
"link": "/arts/tag/theatreworks-silicon-valley"
},
"arts_4525": {
"type": "terms",
"id": "arts_4525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Hustle",
"description": null,
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4537,
"slug": "hustle",
"isLoading": false,
"link": "/arts/series/hustle"
},
"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_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_4213": {
"type": "terms",
"id": "arts_4213",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4213",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the hustle",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4225,
"slug": "the-hustle",
"isLoading": false,
"link": "/arts/tag/the-hustle"
},
"arts_22352": {
"type": "terms",
"id": "arts_22352",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22352",
"found": true
},
"relationships": {},
"name": "Immigration",
"slug": "immigration",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Immigration | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22364,
"isLoading": false,
"link": "/arts/category/immigration"
},
"arts_5391": {
"type": "terms",
"id": "arts_5391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "china",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "china Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5403,
"slug": "china",
"isLoading": false,
"link": "/arts/tag/china"
},
"arts_1773": {
"type": "terms",
"id": "arts_1773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigration",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1785,
"slug": "immigration",
"isLoading": false,
"link": "/arts/tag/immigration"
},
"arts_4670": {
"type": "terms",
"id": "arts_4670",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4670",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Indian",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Indian Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4682,
"slug": "indian",
"isLoading": false,
"link": "/arts/tag/indian"
}
},
"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": []
}
}
