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_13880907": {
"type": "attachments",
"id": "arts_13880907",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13880907",
"found": true
},
"parent": 13880884,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-655x372.jpg",
"width": 655,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg",
"width": 655,
"height": 434
}
},
"publishDate": 1590106251,
"modified": 1693939486,
"caption": "Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991.",
"description": null,
"title": "The Stud 1991 photo by Melissa Hawkins",
"credit": "Melissa Hawkins",
"status": "inherit",
"altTag": "A black-and-white photo of a drag queen nun and two mustached men partying.",
"isLoading": false,
"fetchFailed": false
},
"arts_13879216": {
"type": "attachments",
"id": "arts_13879216",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13879216",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/KQED-Coronavirus-Updates-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/KQED-Coronavirus-Updates-160x84.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 84
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/KQED-Coronavirus-Updates-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/KQED-Coronavirus-Updates.jpg",
"width": 1200,
"height": 628
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/KQED-Coronavirus-Updates-1020x534.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 534
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/KQED-Coronavirus-Updates-800x419.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 419
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/KQED-Coronavirus-Updates-768x402.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 402
}
},
"publishDate": 1587671244,
"modified": 1587671270,
"caption": null,
"description": "liveupdates",
"title": "KQED-Coronavirus-liveupdates",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13880601": {
"type": "attachments",
"id": "arts_13880601",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13880601",
"found": true
},
"parent": 13880574,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room.jpeg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-1020x574.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1589832325,
"modified": 1589918065,
"caption": "The owners of Albany venue Ivy Room believe their business interruption insurance should cover them during the pandemic. They hope other California music venues will join their fight against First Mercury Insurance, which categorically denied their claims.",
"description": "The owners of Albany venue Ivy Room believe their business interruption insurance should cover them during the pandemic. They hope other California music venues will join their fight against First Mercury Insurance.",
"title": "ivy room",
"credit": "Kelly Sullivan/Ivy Room",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13880464": {
"type": "attachments",
"id": "arts_13880464",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13880464",
"found": true
},
"parent": 13880441,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-11@2x-copy-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1589482458,
"modified": 1589482698,
"caption": "Many Asian-American artists feel a calling to make explicitly political art that pushes back against racism during the pandemic, continuing a legacy of protest art that began in the 1960s. ",
"description": "Asian-American artists have felt a calling to make explicitly political art that pushes back against xenophobia during the pandemic. ",
"title": "Artboard 11@2x copy",
"credit": "Eda Yu, Mashael Al Saie, Christine Oh",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13880417": {
"type": "attachments",
"id": "arts_13880417",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13880417",
"found": true
},
"parent": 13879872,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash.jpg",
"width": 2532,
"height": 1692
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash-1020x682.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 682
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash-1920x1283.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1283
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/hans-peter-gauster-3y1zF4hIPCg-unsplash-768x513.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 513
}
},
"publishDate": 1589422113,
"modified": 1589422144,
"caption": null,
"description": null,
"title": "hans-peter-gauster-3y1zF4hIPCg-unsplash",
"credit": "Hans Peter Gauster/Unsplash",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13880358": {
"type": "attachments",
"id": "arts_13880358",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13880358",
"found": true
},
"parent": 13879939,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527.jpg",
"width": 2500,
"height": 1667
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/Nov30_TextMe-Studio_9527-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1589397630,
"modified": 1589397746,
"caption": "The recording business was already tough in San Francisco before the pandemic. Patrick Brown (far left), owner of Different Fur Studios, is strategizing for how his business can sustain during shelter in place by offering discounted rates and upgrading livestreaming capabilities. ",
"description": "The recording business was already tough in San Francisco before the pandemic. Patrick Brown (far left), owner of Different Fur Studios, is strategizing for how his business can sustain during shelter in place by offering discounted rates and upgrading livestreaming capabilities. ",
"title": "Nov30_TextMe-Studio_9527",
"credit": "Kristina Bakrevski",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13880098": {
"type": "attachments",
"id": "arts_13880098",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13880098",
"found": true
},
"parent": 13880011,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/mozzy-beyond-bulletproof-160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/mozzy-beyond-bulletproof-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/mozzy-beyond-bulletproof.jpeg",
"width": 960,
"height": 540
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/mozzy-beyond-bulletproof-800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/mozzy-beyond-bulletproof-768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1589220838,
"modified": 1589231704,
"caption": "Mozzy released his new album 'Beyond Bulletproof,' a project he calls a \"self-help book for the trenches,\" on the prison communication service JPay before it came out on major platforms. He describes it as an homage to his supporters on the inside as well as a way to process his own struggles. ",
"description": "Mozzy released his new album 'Beyond Bulletproof,' a project he calls a \"self-help book for the trenches,\" on the prison communication service JPay before it came out on major platforms.",
"title": "mozzy beyond bulletproof",
"credit": "Mozzy",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13879812": {
"type": "attachments",
"id": "arts_13879812",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13879812",
"found": true
},
"parent": 13879768,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/GettyImages-1209599224-1-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/GettyImages-1209599224-1-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/GettyImages-1209599224-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/GettyImages-1209599224-1.jpg",
"width": 1024,
"height": 681
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/GettyImages-1209599224-1-1020x678.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 678
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/GettyImages-1209599224-1-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/GettyImages-1209599224-1-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1588728526,
"modified": 1588728639,
"caption": "Nurses and healthcare workers mourn and remember their colleagues who died during the outbreak of the novel coronavirus. Mount Sinai Hospital, New York, April 10, 2020.",
"description": "Nurses and healthcare workers mourn and remember their colleagues who died during the outbreak of the novel coronavirus. Mount Sinai Hospital, New York, April 10, 2020.",
"title": "Nurses and healthcare workers mourn and remember their colleagues who died during the outbreak of the novel coronavirus. Mount Sinai Hospital, New York, April 10, 2020.",
"credit": "JOHANNES EISELE/AFP via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13879879": {
"type": "attachments",
"id": "arts_13879879",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13879879",
"found": true
},
"parent": 13879689,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice-160x108.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 108
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice.jpg",
"width": 1920,
"height": 1297
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice-1020x689.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 689
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice-1920x1297.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1297
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice-800x540.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 540
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/05/NguyenWithChiefJustice-768x519.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 519
}
},
"publishDate": 1588799222,
"modified": 1588799266,
"caption": "Former Chief Justice Robert Yazzie and Thuy Nguyen (L–R) at Navajo Nation. ",
"description": "Former Chief Justice Robert Yazzie and Thuy Nguyen (L–R) at Navajo Nation. ",
"title": "NguyenWithChiefJustice",
"credit": "Courtesy Thuy Nguyen",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13879416": {
"type": "attachments",
"id": "arts_13879416",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13879416",
"found": true
},
"parent": 13879415,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-160x105.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 105
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-e1588113306939.jpg",
"width": 1920,
"height": 1255
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-1020x667.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 667
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-1920x1255.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1255
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-800x523.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 523
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-1207638390_custom-a774aa7c3ad057d113890d7ba571bc49b03a5158-768x502.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 502
}
},
"publishDate": 1588112919,
"modified": 1588113356,
"caption": "San Francisco's California Street, usually filled with cable cars, is seen empty on March 18, 2020, after residents were ordered to shelter in place.",
"description": "San Francisco's California Street, usually filled with cable cars, is seen empty on March 18, 2020, after residents were ordered to shelter in place.",
"title": "San Francisco's California Street, usually filled with cable cars, is seen empty on March 18, 2020, after residents were ordered to shelter in place.",
"credit": "Josh Edelson/AFP via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13879105": {
"type": "attachments",
"id": "arts_13879105",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13879105",
"found": true
},
"parent": 13878987,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/insidelands-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1587582368,
"modified": 1587582458,
"caption": "The nightly Zoom party Inside Lands unites the movers and shakers of Bay Area food, cannabis and nightlife. During shelter-in-place, it's become a much-needed space for laughter and relief when many are struggling to cope with isolation.",
"description": "The nightly Zoom party Inside Lands unites the movers and shakers of Bay Area food, cannabis and nightlife. During shelter-in-place, it's become a much-needed space for laughter and relief when many are struggling to cope with isolation.",
"title": "insidelands",
"credit": "Inside Lands ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13879015": {
"type": "attachments",
"id": "arts_13879015",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13879015",
"found": true
},
"parent": 13878907,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/Graduation-1000x576.png",
"width": 1000,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/Graduation-160x108.png",
"width": 160,
"mimeType": "image/png",
"height": 108
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/Graduation-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/Graduation.png",
"width": 1000,
"height": 678
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/Graduation-800x542.png",
"width": 800,
"mimeType": "image/png",
"height": 542
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/Graduation-768x521.png",
"width": 768,
"mimeType": "image/png",
"height": 521
}
},
"publishDate": 1587498559,
"modified": 1587573732,
"caption": "Author Pendarvis Harshaw at his high school graduation in 2005.",
"description": "Pendarvis H at high school graduation in 2005",
"title": "Pendarvis H at high school graduation in 2005",
"credit": "Pendarvis Harshaw",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13880011": {
"type": "authors",
"id": "byline_arts_13880011",
"meta": {
"override": true
},
"slug": "byline_arts_13880011",
"name": "Montse Reyes",
"isLoading": false
},
"byline_arts_13879415": {
"type": "authors",
"id": "byline_arts_13879415",
"meta": {
"override": true
},
"slug": "byline_arts_13879415",
"name": "Mary Louise Kelly",
"isLoading": false
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter and editor at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She holds a BA in comparative literature from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"edayu": {
"type": "authors",
"id": "11391",
"meta": {
"index": "authors_1716337520",
"id": "11391",
"found": true
},
"name": "Eda Yu",
"firstName": "Eda",
"lastName": "Yu",
"slug": "edayu",
"email": "eda.cyu@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Eda Yu is a freelance writer and arts and culture journalist born and raised in Los Angeles, California. Her work centers the intersection of culture and identity, and her writing has appeared on platforms like VICE, Paper Magazine, and Complex. Follow her latest on Instagram and Twitter @edacyu.",
"avatar": "https://secure.gravatar.com/avatar/6dac2abe6c01e7b538d29f9c902136eb?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/edacyu/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Eda Yu | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/6dac2abe6c01e7b538d29f9c902136eb?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6dac2abe6c01e7b538d29f9c902136eb?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/edayu"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"pagesReducer": {
"arts_tag_covid-19": {
"type": "terms",
"id": "arts_10127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10127",
"score": 8.555333
},
"featImg": null,
"name": "covid-19",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "covid-19 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10139,
"slug": "covid-19",
"isLoading": false,
"title": "covid-19",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 7
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=covid-19",
"seeMore": false,
"paginated": true,
"page": 7
}
},
{
"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_13880884": {
"type": "posts",
"id": "arts_13880884",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13880884",
"score": null,
"sort": [
1590108274000
]
},
"guestAuthors": [],
"slug": "the-studs-closure-is-cultural-erasure-caused-by-coronavirus",
"title": "The Stud’s Closure is Cultural Erasure Caused by Coronavirus",
"publishDate": 1590108274,
"format": "standard",
"headTitle": "The Stud’s Closure is Cultural Erasure Caused by Coronavirus | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The last time I visited \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Stud\u003c/a>, San Francisco’s oldest gay bar, the surrealist drag collective Toxic Waste Face performed as an unhinged teen pop group. Jillian Gnarling lip-synced to a baby-voiced ’60s girl-group song in body horror makeup that made half of her face look like it was rotten.\u003c/p>\n\u003cp>The time before that, partygoers casually drank around a man splayed out on the pool table in white briefs, his mouth held open with a lip retractor while another performer did diabolical dental work on him. The tableau oozed with bloody-looking prop goo.\u003c/p>\n\u003cp>Had I known these would be my last visits to the Stud, I might have thrown even more dollar bills at the stage. But because of the coronavirus pandemic, the Stud’s 17-person ownership collective announced yesterday they’d decided to shut the bar down; they are moving out of their South of Market location on May 31.\u003c/p>\n\u003cp>In a city like San Francisco, where LGBTQ+ people are represented in local government and corporate boardrooms alike, the Stud is a home for those who aren’t accepted by the mainstream. Though stars like Sylvester, Etta James and Lady Gaga have graced its glitter-spangled stage over the years, it is best known as a safe haven for the community’s radicals, outsiders and scrappy artists.\u003c/p>\n\u003cp>The Stud has been that way since its inception in the ’60s. It was one of San Francisco’s first gay bars that was hospitable to women; it nurtured various countercultures, including hippies and punks, through the decades. The bar has undergone some drastic changes in its 55-year history, but this feels different. Before, people could gather to weather those moments together in person. This time, we are forced to mourn through our computer screens. On May 31, there will be a virtual funeral for the Stud on its \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch channel\u003c/a>, with performances by drag celebrities including Jinx Monsoon, Alaska, Heklina, \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> and Peaches Christ.\u003c/p>\n\u003cfigure id=\"attachment_13880900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_4483-800x450.jpg\" alt=\"Two drag queens wear inflatable, sparkly costumes an colorful wigs on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toxic Waste Face performs at the Stud in 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The shelter-in-place policies—which we fully agree with and support, because science is very real and very cool—we have not been able to draw an income like many bars and many restaurants across the nation,” said Stud co-owner VivvyAnne Forevermore in a press conference. “This has made it impossible to keep up with the bills that we have, even being an empty building. It was not an easy decision.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a deep loss for us,” Forevermore continued, adding that the Stud has been in its current building since 1987. “It has survived the AIDS epidemic. And now it’s the COVID pandemic that’s forcing us to close.”\u003c/p>\n\u003cp>The Stud collective will continue on with \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">virtual parties\u003c/a> until in-person gatherings are safe again, and there are plans to buy a building and reopen once the pandemic passes. Funding, however, remains a major challenge: a permanent home will likely cost the collective around a million dollars. State Senator Scott Wiener and San Francisco Supervisor Matt Haney pledged to rally support in Sacramento and City Hall at a press conference announcing the closure today, but a concrete plan for reopening is still far off as the Bay Area’s nightlife industry hangs in limbo.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The temporary closure of the Stud, and its uncertain future, is another blow for the Bay Area’s queer community, which has seen numerous historic establishments disappear in recent years due to exorbitant rents. Latinx gay bar Esta Noche shuttered due to the cost of doing business in a gentrified Mission District; so did the Lexington, the last lesbian bar in a city once full of them.\u003c/p>\n\u003cp>The Stud almost closed in 2016 but was saved by the 17 nightlife professionals who bought it collectively and gave it new life, including activist and drag queen Honey Mahogany and 48 Hills publisher and editor \u003ca href=\"https://48hills.org/2020/05/the-stud-closes-its-location-in-order-to-save-itself-for-the-future/\" target=\"_blank\" rel=\"noopener noreferrer\">Marke Bieschke\u003c/a>. Prior to COVID-19, it was already operating on razor-thin margins. Remaining open would mean accruing hundreds of thousands of dollars in debt until the threat of the pandemic passed. The owners had to make a tough call.\u003c/p>\n\u003cfigure id=\"attachment_13880909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg\" alt=\"\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club kid Adrian Craig and friends at the Stud in 1985. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While temporary closures of nightlife venues are absolutely necessary for public health, the lack of safety nets available to them and their workers puts small business owners in impossible financial predicaments. Across the bridge in Oakland, punk bar the Stork Club and underground music venue Spirithaus have \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">decided to shutter\u003c/a> in recent weeks with the hope of reopening in new locations later. It’s understandable, but also tragic to think about how far the Bay Area’s cultural institutions will be eroded when this is over, and how much power will be given over to corporations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly not done and we are going to keep fighting until we find a new space,” said general manager and co-owner Rachel Ryan. “But this is our time for all of us to mourn that weird, smelly, strange building that so many of us have found a home in.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "With bills mounting, San Francisco's oldest gay bar is the latest beloved venue opting to close.",
"status": "publish",
"parent": 0,
"modified": 1741366847,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 901
},
"headData": {
"title": "The Stud’s Closure is Cultural Erasure Caused by Coronavirus | KQED",
"description": "With bills mounting, San Francisco's oldest gay bar is the latest beloved venue opting to close.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Stud’s Closure is Cultural Erasure Caused by Coronavirus",
"datePublished": "2020-05-21T17:44:34-07:00",
"dateModified": "2025-03-07T09:00:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last time I visited \u003ca href=\"https://www.studsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Stud\u003c/a>, San Francisco’s oldest gay bar, the surrealist drag collective Toxic Waste Face performed as an unhinged teen pop group. Jillian Gnarling lip-synced to a baby-voiced ’60s girl-group song in body horror makeup that made half of her face look like it was rotten.\u003c/p>\n\u003cp>The time before that, partygoers casually drank around a man splayed out on the pool table in white briefs, his mouth held open with a lip retractor while another performer did diabolical dental work on him. The tableau oozed with bloody-looking prop goo.\u003c/p>\n\u003cp>Had I known these would be my last visits to the Stud, I might have thrown even more dollar bills at the stage. But because of the coronavirus pandemic, the Stud’s 17-person ownership collective announced yesterday they’d decided to shut the bar down; they are moving out of their South of Market location on May 31.\u003c/p>\n\u003cp>In a city like San Francisco, where LGBTQ+ people are represented in local government and corporate boardrooms alike, the Stud is a home for those who aren’t accepted by the mainstream. Though stars like Sylvester, Etta James and Lady Gaga have graced its glitter-spangled stage over the years, it is best known as a safe haven for the community’s radicals, outsiders and scrappy artists.\u003c/p>\n\u003cp>The Stud has been that way since its inception in the ’60s. It was one of San Francisco’s first gay bars that was hospitable to women; it nurtured various countercultures, including hippies and punks, through the decades. The bar has undergone some drastic changes in its 55-year history, but this feels different. Before, people could gather to weather those moments together in person. This time, we are forced to mourn through our computer screens. On May 31, there will be a virtual funeral for the Stud on its \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch channel\u003c/a>, with performances by drag celebrities including Jinx Monsoon, Alaska, Heklina, \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> and Peaches Christ.\u003c/p>\n\u003cfigure id=\"attachment_13880900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_4483-800x450.jpg\" alt=\"Two drag queens wear inflatable, sparkly costumes an colorful wigs on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_4483.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toxic Waste Face performs at the Stud in 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The shelter-in-place policies—which we fully agree with and support, because science is very real and very cool—we have not been able to draw an income like many bars and many restaurants across the nation,” said Stud co-owner VivvyAnne Forevermore in a press conference. “This has made it impossible to keep up with the bills that we have, even being an empty building. It was not an easy decision.”\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’s a deep loss for us,” Forevermore continued, adding that the Stud has been in its current building since 1987. “It has survived the AIDS epidemic. And now it’s the COVID pandemic that’s forcing us to close.”\u003c/p>\n\u003cp>The Stud collective will continue on with \u003ca href=\"https://www.twitch.tv/dragalive\" target=\"_blank\" rel=\"noopener noreferrer\">virtual parties\u003c/a> until in-person gatherings are safe again, and there are plans to buy a building and reopen once the pandemic passes. Funding, however, remains a major challenge: a permanent home will likely cost the collective around a million dollars. State Senator Scott Wiener and San Francisco Supervisor Matt Haney pledged to rally support in Sacramento and City Hall at a press conference announcing the closure today, but a concrete plan for reopening is still far off as the Bay Area’s nightlife industry hangs in limbo.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The temporary closure of the Stud, and its uncertain future, is another blow for the Bay Area’s queer community, which has seen numerous historic establishments disappear in recent years due to exorbitant rents. Latinx gay bar Esta Noche shuttered due to the cost of doing business in a gentrified Mission District; so did the Lexington, the last lesbian bar in a city once full of them.\u003c/p>\n\u003cp>The Stud almost closed in 2016 but was saved by the 17 nightlife professionals who bought it collectively and gave it new life, including activist and drag queen Honey Mahogany and 48 Hills publisher and editor \u003ca href=\"https://48hills.org/2020/05/the-stud-closes-its-location-in-order-to-save-itself-for-the-future/\" target=\"_blank\" rel=\"noopener noreferrer\">Marke Bieschke\u003c/a>. Prior to COVID-19, it was already operating on razor-thin margins. Remaining open would mean accruing hundreds of thousands of dollars in debt until the threat of the pandemic passed. The owners had to make a tough call.\u003c/p>\n\u003cfigure id=\"attachment_13880909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg\" alt=\"\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Stud-Bar-1980s.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club kid Adrian Craig and friends at the Stud in 1985. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While temporary closures of nightlife venues are absolutely necessary for public health, the lack of safety nets available to them and their workers puts small business owners in impossible financial predicaments. Across the bridge in Oakland, punk bar the Stork Club and underground music venue Spirithaus have \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">decided to shutter\u003c/a> in recent weeks with the hope of reopening in new locations later. It’s understandable, but also tragic to think about how far the Bay Area’s cultural institutions will be eroded when this is over, and how much power will be given over to corporations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly not done and we are going to keep fighting until we find a new space,” said general manager and co-owner Rachel Ryan. “But this is our time for all of us to mourn that weird, smelly, strange building that so many of us have found a home in.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_2303"
],
"tags": [
"arts_2767",
"arts_10126",
"arts_10127",
"arts_10342",
"arts_10278",
"arts_3226"
],
"featImg": "arts_13880907",
"label": "arts"
},
"arts_13880741": {
"type": "posts",
"id": "arts_13880741",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13880741",
"score": null,
"sort": [
1590000615000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1590000615,
"format": "standard",
"title": "Oakland Venues Stork Club, Spirithaus Shutter Due to Pandemic",
"headTitle": "Oakland Venues Stork Club, Spirithaus Shutter Due to Pandemic | KQED",
"content": "\u003cp>Oakland rock club and dive bar the Stork Club, a venue that’s been open in different forms for over 100 years, is temporarily closing due to the pandemic. Tom Chittock, manager and son of owner Juanita “Micki” Chittock, tells KQED that his family decided that it no longer made sense to pay $7,000 a month in rent and $3,000 in insurance with no reopening date in sight.\u003c/p>\n\u003cp>“I was trying and trying and trying and trying, the landlord isn’t talking to me,” says Chittock. “We would like to talk to him to see if we could get some rent forgiveness, and he hasn’t responded to any emails. I even walked over and hand delivered a letter.”\u003c/p>\n\u003cp>Chittock says that prior to the pandemic, the club had some financial struggles, but was mostly staying afloat with nightly punk shows. “\u003cspan class=\"s1\">We were hanging in there, we were having a little bit of trouble, but we were making it,” he says.\u003c/span>\u003c/p>\n\u003cp>But now, concerts are off in California until the state reaches phase four of its reopening plan—which would require the wide availability of a vaccine or therapeutics. With that timeline uncertain, the Chittock family decided to cut its losses and move out of its colorful, mural-strewn downtown Oakland space, located at the corner of Telegraph Avenue and 24th Street. Chittock says that Stork Club will one day reopen in another location, perhaps as a nonprofit, and that it’s fundraising for relocation with a \u003ca href=\"https://www.gofundme.com/f/1vggjuuuc0\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a>.\u003c/p>\n\u003cp>The Stork Club’s closure is the latest example of the pandemic’s alteration of Oakland’s cultural landscape. Spirithaus Gallery, a venue that centered black artists with Afrofuturist sensibilities, announced last week a move out of its West Oakland warehouse on Adeline Street. An \u003ca href=\"https://www.instagram.com/p/CAJ5Lz1Bk6G/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from the venue owners suggested plans to reopen in another form as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As you know, things are moving in ‘real time’ and the creativity of sustainability and survival is more relevant now than ever before in our modern era,” the post reads. “This, among many other factors, has influenced our decision to rethink, unplug and pivot to a more efficient means of creativity. We are looking forward to sharing what that looks like as it comes to fruition.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Nastia Voynovskaya (\u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener noreferrer\">@nananastia\u003c/a>)\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 405,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705020703,
"excerpt": "The Stork Club on Telegraph Avenue had been open in various forms for over 100 years.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Stork Club on Telegraph Avenue had been open in various forms for over 100 years.",
"title": "Oakland Venues Stork Club, Spirithaus Shutter Due to Pandemic | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Venues Stork Club, Spirithaus Shutter Due to Pandemic",
"datePublished": "2020-05-20T11:50:15-07:00",
"dateModified": "2024-01-11T16:51:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"justInHeadline": "Oakland venues Stork Club, Spirithaus shutter ",
"sticky": false,
"path": "/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic",
"redirect": {
"type": "internal",
"url": "/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic"
},
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland rock club and dive bar the Stork Club, a venue that’s been open in different forms for over 100 years, is temporarily closing due to the pandemic. Tom Chittock, manager and son of owner Juanita “Micki” Chittock, tells KQED that his family decided that it no longer made sense to pay $7,000 a month in rent and $3,000 in insurance with no reopening date in sight.\u003c/p>\n\u003cp>“I was trying and trying and trying and trying, the landlord isn’t talking to me,” says Chittock. “We would like to talk to him to see if we could get some rent forgiveness, and he hasn’t responded to any emails. I even walked over and hand delivered a letter.”\u003c/p>\n\u003cp>Chittock says that prior to the pandemic, the club had some financial struggles, but was mostly staying afloat with nightly punk shows. “\u003cspan class=\"s1\">We were hanging in there, we were having a little bit of trouble, but we were making it,” he says.\u003c/span>\u003c/p>\n\u003cp>But now, concerts are off in California until the state reaches phase four of its reopening plan—which would require the wide availability of a vaccine or therapeutics. With that timeline uncertain, the Chittock family decided to cut its losses and move out of its colorful, mural-strewn downtown Oakland space, located at the corner of Telegraph Avenue and 24th Street. Chittock says that Stork Club will one day reopen in another location, perhaps as a nonprofit, and that it’s fundraising for relocation with a \u003ca href=\"https://www.gofundme.com/f/1vggjuuuc0\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a>.\u003c/p>\n\u003cp>The Stork Club’s closure is the latest example of the pandemic’s alteration of Oakland’s cultural landscape. Spirithaus Gallery, a venue that centered black artists with Afrofuturist sensibilities, announced last week a move out of its West Oakland warehouse on Adeline Street. An \u003ca href=\"https://www.instagram.com/p/CAJ5Lz1Bk6G/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from the venue owners suggested plans to reopen in another form as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As you know, things are moving in ‘real time’ and the creativity of sustainability and survival is more relevant now than ever before in our modern era,” the post reads. “This, among many other factors, has influenced our decision to rethink, unplug and pivot to a more efficient means of creativity. We are looking forward to sharing what that looks like as it comes to fruition.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Nastia Voynovskaya (\u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener noreferrer\">@nananastia\u003c/a>)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_10797",
"arts_69",
"arts_235",
"arts_70"
],
"tags": [
"arts_10126",
"arts_10127",
"arts_11080",
"arts_10651"
],
"featImg": "arts_13879216",
"label": "arts"
},
"arts_13880574": {
"type": "posts",
"id": "arts_13880574",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13880574",
"score": null,
"sort": [
1589839201000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1589839201,
"format": "standard",
"title": "Hoping for Relief for Venues, Ivy Room Spearheads Class Action Against Insurer",
"headTitle": "Hoping for Relief for Venues, Ivy Room Spearheads Class Action Against Insurer | KQED",
"content": "\u003cp>Since taking over \u003ca href=\"https://www.ivyroom.com\">the Ivy Room\u003c/a> in 2015, Lani Torres and Summer Gerbing have prided themselves on doing everything right. Transforming the venerable Albany dive bar into one of the East Bay’s liveliest music venues, they cultivated a devoted clientele with an exuberantly eclectic roster of acts. They’ve covered their bills, paid the artists who drew throngs to the intimate club and kept up insurance payments in case anything went wrong.\u003c/p>\n\u003cp>So when the spread of COVID-19 led to the Bay Area’s March 17 shelter-in-place order and the Ivy Room shut its doors, they figured their business interruption insurance would help the club weather the storm. But their insurer, First Mercury, denied their claim, putting the Ivy Room in the same boat as hundreds of other venues that have filed claims with their insurers. Last Wednesday, the owners struck back, filing a class action lawsuit on behalf of California-based music venues insured by First Mercury.\u003c/p>\n\u003cp>Despite collecting premiums for such risks, First Mercury is “categorically denying claims from venues arising from California’s mandated interruption of business services,” according to a complaint filed by Oakland-based Gibbs Law Group and Washington D.C. firm Cohen Milstein Sellers & Toll PLLC. Rather than investigating individual claims, First Mercury has responded with form letters denying coverage that, the suit argues, “appear to rest on crabbed readings of coverage language and overbroad readings of exclusions. That gets insurance law exactly backwards—and raises the specter of bad-faith denials.”\u003c/p>\n\u003cfigure id=\"attachment_13804553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/08/IMG_3881-800x600.jpg\" alt=\"Chris Bauermeister of Jawbreaker at the Ivy Room in Albany, Aug. 3, 2017.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Bauermeister of Jawbreaker at the Ivy Room in Albany, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First Mercury, which is based in Southfield, Michigan, could not be reached for a response. The National Association of Insurance Commissioners, the U.S. standard-setting and regulatory support organization governed by all 50 states’ chief insurance regulators, released a statement in March stating that “business interruption policies were generally not designed or priced to provide coverage against communicable diseases, such as COVID-19, and therefore include exclusions for that risk.”\u003c/p>\n\u003cp>David Sampson, president and CEO of the American Property Casualty Insurance Association, said that insurance companies started excluding coverage for loses from viruses, bacteria and contaminations after the 2003 SARS outbreak. “Only the federal government can be the full bridge for a crisis of today’s proportion,” Sampson said. “The proof is in the numbers—this pandemic is unprecedented in its scale, reach and economic impact.”\u003c/p>\n\u003cfigure id=\"attachment_13880603\" class=\"wp-caption alignright\" style=\"max-width: 663px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-.jpeg\" alt=\"Two women pose in front of a bar.\" width=\"663\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ivy-room-.jpeg 663w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ivy-room--160x160.jpeg 160w\" sizes=\"(max-width: 663px) 100vw, 663px\">\u003cfigcaption class=\"wp-caption-text\">Ivy Room owners Summer Gerbing and Lani Torres (left to right). \u003ccite>(The Ivy Room)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Torres and Gerbing, the claim denial raises questions about the point of a business interruption policy, and they’re hoping to rally fellow club owners with the class action suit. “We all are extremely frustrated with this situation,” Torres said. “All the other club owners at their wits’ end. We pay so much money and this kind of situation is what we were paying for.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At times we would pay our insurance and sometimes not pay ourselves,” Gerbing added. “When we filed we were quite shocked we got a denial. We are part of a lot of discussions going on nationally with other venue owners, trying to understand how to deal with all of these clubs having business interruption insurance and not being able to use it.”\u003c/p>\n\u003cp>The Ivy Room has been a mainstay of the East Bay music scene since the 1940s. It mostly featured blues and rock acts during its turn-of-the-century heyday. Under Torres and Gerbing, the cozy venue became a magnet for creative programming with multi-act themed nights that attracted audiences spilling out onto San Pablo Avenue. Jawbreaker and members of Green Day have performed rare, intimate shows there in recent years. And in 2019, the alt-country combo Crying Time presented a sold-out tribute to country music legend George Jones that the band ended up bringing to Berkeley’s much larger Freight & Salvage. [aside postid='arts_13879939']\u003c/p>\n\u003cp>With bills mounting and no end in sight to the shelter-in-place order, Torres and Gerbing reluctantly launched a \u003ca href=\"https://www.gofundme.com/f/please-help-support-ivy-room-music-venue\">GoFundMe campaign\u003c/a> in late April to save the Ivy Room. The response was gratifying. So far fans of the venue have contributed over half of the $50,000 target. Rather than waiting for insurance or small business loans, many venues have turned to similar crowdfunding efforts hoping to survive long enough to reopen. And the Ivy Room recently joined a cadre of venues across the country in the newly formed \u003ca href=\"https://www.kqed.org/arts/13880524/with-no-timeline-for-reopening-sfs-independent-venues-seek-lifeline\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a>, which seeks to lobby Congress for relief measures. [aside postid='arts_13880524']\u003c/p>\n\u003cp>But Torres and Gerbing are let questioning what happens until California reaches \u003ca href=\"https://www.kcra.com/article/californias-reopening-will-come-in-4-phases-what-you-need-to-know/32310955#\" target=\"_blank\" rel=\"noopener noreferrer\">phase four\u003c/a> of its shelter-in-place orders, which stipulate that concerts can only take place when a COVID-19 vaccine or therapeutics have been developed.\u003c/p>\n\u003cp>“We are one of those shoulder-to-shoulder, everyone’s sweating kind of clubs,” Torres said. “With social distancing maybe we could open at 25% capacity. The next step would be to see what adding tables would look like. It’s all really uncertain.”\u003c/p>\n\u003cp>In the meantime, Gibbs Law Group is actively seeking other clubs and venues to join the class action. [aside postid='arts_13878116']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve heard from many different businesses with claims denied despite having premiums in place to protect them,” said Gibbs Law Group attorney Andre Mura. “Many denial letters are pretty barebones. Music venues, restaurants and all sorts of businesses that are acting responsibly following shutdown orders have claims that have been denied. It’s really a widespread problem tearing at the fabric of our communities, with many small, culturally important businesses finding themselves in dire straits through no fault of their own.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 990,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705020719,
"excerpt": "The East Bay independent music venue believes its business interruption insurance should cover its shelter-in-place closure. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The East Bay independent music venue believes its business interruption insurance should cover its shelter-in-place closure. ",
"title": "Hoping for Relief for Venues, Ivy Room Spearheads Class Action Against Insurer | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hoping for Relief for Venues, Ivy Room Spearheads Class Action Against Insurer",
"datePublished": "2020-05-18T15:00:01-07:00",
"dateModified": "2024-01-11T16:51:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hoping-for-relief-for-venues-ivy-room-spearheads-class-action-against-insurer",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13880574/hoping-for-relief-for-venues-ivy-room-spearheads-class-action-against-insurer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since taking over \u003ca href=\"https://www.ivyroom.com\">the Ivy Room\u003c/a> in 2015, Lani Torres and Summer Gerbing have prided themselves on doing everything right. Transforming the venerable Albany dive bar into one of the East Bay’s liveliest music venues, they cultivated a devoted clientele with an exuberantly eclectic roster of acts. They’ve covered their bills, paid the artists who drew throngs to the intimate club and kept up insurance payments in case anything went wrong.\u003c/p>\n\u003cp>So when the spread of COVID-19 led to the Bay Area’s March 17 shelter-in-place order and the Ivy Room shut its doors, they figured their business interruption insurance would help the club weather the storm. But their insurer, First Mercury, denied their claim, putting the Ivy Room in the same boat as hundreds of other venues that have filed claims with their insurers. Last Wednesday, the owners struck back, filing a class action lawsuit on behalf of California-based music venues insured by First Mercury.\u003c/p>\n\u003cp>Despite collecting premiums for such risks, First Mercury is “categorically denying claims from venues arising from California’s mandated interruption of business services,” according to a complaint filed by Oakland-based Gibbs Law Group and Washington D.C. firm Cohen Milstein Sellers & Toll PLLC. Rather than investigating individual claims, First Mercury has responded with form letters denying coverage that, the suit argues, “appear to rest on crabbed readings of coverage language and overbroad readings of exclusions. That gets insurance law exactly backwards—and raises the specter of bad-faith denials.”\u003c/p>\n\u003cfigure id=\"attachment_13804553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/08/IMG_3881-800x600.jpg\" alt=\"Chris Bauermeister of Jawbreaker at the Ivy Room in Albany, Aug. 3, 2017.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_3881-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Bauermeister of Jawbreaker at the Ivy Room in Albany, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First Mercury, which is based in Southfield, Michigan, could not be reached for a response. The National Association of Insurance Commissioners, the U.S. standard-setting and regulatory support organization governed by all 50 states’ chief insurance regulators, released a statement in March stating that “business interruption policies were generally not designed or priced to provide coverage against communicable diseases, such as COVID-19, and therefore include exclusions for that risk.”\u003c/p>\n\u003cp>David Sampson, president and CEO of the American Property Casualty Insurance Association, said that insurance companies started excluding coverage for loses from viruses, bacteria and contaminations after the 2003 SARS outbreak. “Only the federal government can be the full bridge for a crisis of today’s proportion,” Sampson said. “The proof is in the numbers—this pandemic is unprecedented in its scale, reach and economic impact.”\u003c/p>\n\u003cfigure id=\"attachment_13880603\" class=\"wp-caption alignright\" style=\"max-width: 663px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/ivy-room-.jpeg\" alt=\"Two women pose in front of a bar.\" width=\"663\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ivy-room-.jpeg 663w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/ivy-room--160x160.jpeg 160w\" sizes=\"(max-width: 663px) 100vw, 663px\">\u003cfigcaption class=\"wp-caption-text\">Ivy Room owners Summer Gerbing and Lani Torres (left to right). \u003ccite>(The Ivy Room)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Torres and Gerbing, the claim denial raises questions about the point of a business interruption policy, and they’re hoping to rally fellow club owners with the class action suit. “We all are extremely frustrated with this situation,” Torres said. “All the other club owners at their wits’ end. We pay so much money and this kind of situation is what we were paying for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At times we would pay our insurance and sometimes not pay ourselves,” Gerbing added. “When we filed we were quite shocked we got a denial. We are part of a lot of discussions going on nationally with other venue owners, trying to understand how to deal with all of these clubs having business interruption insurance and not being able to use it.”\u003c/p>\n\u003cp>The Ivy Room has been a mainstay of the East Bay music scene since the 1940s. It mostly featured blues and rock acts during its turn-of-the-century heyday. Under Torres and Gerbing, the cozy venue became a magnet for creative programming with multi-act themed nights that attracted audiences spilling out onto San Pablo Avenue. Jawbreaker and members of Green Day have performed rare, intimate shows there in recent years. And in 2019, the alt-country combo Crying Time presented a sold-out tribute to country music legend George Jones that the band ended up bringing to Berkeley’s much larger Freight & Salvage. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13879939",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With bills mounting and no end in sight to the shelter-in-place order, Torres and Gerbing reluctantly launched a \u003ca href=\"https://www.gofundme.com/f/please-help-support-ivy-room-music-venue\">GoFundMe campaign\u003c/a> in late April to save the Ivy Room. The response was gratifying. So far fans of the venue have contributed over half of the $50,000 target. Rather than waiting for insurance or small business loans, many venues have turned to similar crowdfunding efforts hoping to survive long enough to reopen. And the Ivy Room recently joined a cadre of venues across the country in the newly formed \u003ca href=\"https://www.kqed.org/arts/13880524/with-no-timeline-for-reopening-sfs-independent-venues-seek-lifeline\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a>, which seeks to lobby Congress for relief measures. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13880524",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Torres and Gerbing are let questioning what happens until California reaches \u003ca href=\"https://www.kcra.com/article/californias-reopening-will-come-in-4-phases-what-you-need-to-know/32310955#\" target=\"_blank\" rel=\"noopener noreferrer\">phase four\u003c/a> of its shelter-in-place orders, which stipulate that concerts can only take place when a COVID-19 vaccine or therapeutics have been developed.\u003c/p>\n\u003cp>“We are one of those shoulder-to-shoulder, everyone’s sweating kind of clubs,” Torres said. “With social distancing maybe we could open at 25% capacity. The next step would be to see what adding tables would look like. It’s all really uncertain.”\u003c/p>\n\u003cp>In the meantime, Gibbs Law Group is actively seeking other clubs and venues to join the class action. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13878116",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve heard from many different businesses with claims denied despite having premiums in place to protect them,” said Gibbs Law Group attorney Andre Mura. “Many denial letters are pretty barebones. Music venues, restaurants and all sorts of businesses that are acting responsibly following shutdown orders have claims that have been denied. It’s really a widespread problem tearing at the fabric of our communities, with many small, culturally important businesses finding themselves in dire straits through no fault of their own.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13880574/hoping-for-relief-for-venues-ivy-room-spearheads-class-action-against-insurer",
"authors": [
"86"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10126",
"arts_10127",
"arts_10278",
"arts_6387"
],
"featImg": "arts_13880601",
"label": "arts"
},
"arts_13880441": {
"type": "posts",
"id": "arts_13880441",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13880441",
"score": null,
"sort": [
1589493658000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1589493658,
"format": "standard",
"title": "What It Means to Make Art as an Asian American in the Pandemic",
"headTitle": "What It Means to Make Art as an Asian American in the Pandemic | 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\">A\u003c/span> few months ago, I felt like 2020 was going to be a pivotal point for mainstream cultural acceptance for the Asian American and Pacific Islander (AAPI) community. 2019 seemed to offer one win after another: Rapper \u003ca href=\"https://www.instagram.com/saweetie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Saweetie\u003c/span>\u003c/a>’s \u003cspan style=\"font-weight: 400\">“My Type” became a summer hit; K-pop group \u003c/span>\u003ca href=\"https://www.instagram.com/blackpinkofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">BLACKPINK\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> headlined Coachella; indie favorites \u003c/span>\u003ca href=\"https://www.instagram.com/radvxz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Beabadoobee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/peggygou_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Peggy Gou\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> made big waves in the underground. Photographer \u003c/span>\u003ca href=\"https://www.instagram.com/andrew_kung/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Andrew Kung\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cem>\u003ca href=\"https://www.instagram.com/bananamag/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Banana Mag\u003c/span>\u003c/a>\u003c/em>\u003cspan style=\"font-weight: 400\"> brought Asian American identity to the forefront. And \u003c/span>\u003ca href=\"https://www.rottentomatoes.com/m/always_be_my_maybe_2019\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Always Be My Maybe\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, starring Ali Wong and Randall Park, won hearts with its\u003c/span>\u003ca href=\"https://www.elle.com/culture/movies-tv/a27698063/always-be-my-maybe-asian-representation-best-twitter-reactions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> Asian American take on a relatable rom-com plot line\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the fall, the momentum reached a near-fever pitch when Lulu Wang’s \u003c/span>\u003ca href=\"https://a24films.com/films/the-farewell\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Farewell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a film that tells the poignant story of a Chinese-American family navigating their grandma’s cancer diagnosis, released to critical acclaim. And then there was Bong Joon-ho’s phenomenal \u003c/span>\u003ca href=\"https://www.imdb.com/title/tt6751668/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Parasite\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. The film is actually a foreign one—it was created by a Korean filmmaker in Korea—but for me, it felt like a win when it became the first non-English film to ever \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/02/09/movies/parasite-movie-oscars-best-picture.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">take home an Oscar for Best Picture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in early February. Together, these artistic accomplishments felt like a massive shift towards recognizing Asian influence in the American cultural fabric.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, COVID-19 made it to the United States. My family followed the Chinese news, so they’d been updating me on the virus’ spread since January. I wasn’t that surprised when racist attacks started being reported in February and March—but what did surprise me was how many of them took place in New York, a city I recently relocated to from the Bay Area. A masked woman was \u003c/span>\u003ca href=\"https://nypost.com/2020/02/05/woman-wearing-face-mask-attacked-in-possible-coronavirus-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">kicked in the face\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Grand Street station. An Asian man \u003c/span>\u003ca href=\"https://nextshark.com/man-fights-back-after-getting-water-thrown-at-him-because-he-has-coronavirus-in-nyc/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">doused in water\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> while smoking a cigarette. Another was \u003c/span>\u003ca href=\"https://nypost.com/2020/03/05/straphanger-sprays-asian-man-with-febreze-in-possible-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">sprayed with Febreeze\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on the subway. A woman \u003c/span>\u003ca href=\"https://gothamist.com/news/nypd-investigating-hate-crime-after-asian-woman-allegedly-punched-not-wearing-face-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">was punched in the face in K-town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. A woman had \u003c/span>\u003ca href=\"https://www.buzzfeednews.com/article/clarissajanlim/asian-woman-chemical-burns-brooklyn-new-york-attack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">acid poured on her outside her house\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then, beyond New York: Student Jonathan Mok was \u003c/span>\u003ca href=\"https://www.cnn.com/2020/03/03/uk/coronavirus-assault-student-london-scli-intl-gbr/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">brutally beaten on the street in London\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. An elder was \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Video-Asian-man-attacked-mocked-in-San-15081317.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">harassed and attacked while collecting cans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. Two people were \u003c/span>\u003ca href=\"https://www.phillyvoice.com/philly-subway-assault-asian-couple-video-septa-police-coronavirus-fear-harassment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">assaulted by a group of teens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a train station in Philadelphia. A 2-year-old girl, 6-year-old boy and their father were \u003c/span>\u003ca href=\"https://www.thedailybeast.com/stabbing-of-asian-american-2-year-old-and-her-family-was-a-coronavirus-fueled-hate-crime-feds-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">stabbed in a murder attempt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a Sam’s Club in Texas.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-9@2x-copy-800x1000.jpg\" alt='A woman poses in a mask among cleaning products with the text, \"March 10: An Asian woman is punched in the face for not wearing a mask.\"' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Eda Yu in a photo series that draws attention to recent hate crimes against Asian Americans. \u003ccite>(Eda Yu, Mashael Al Saie, Christine Oh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The anger that comes from seeing this kind of racial violence is raw and exceedingly visceral. It’s hard to put into words—especially for Asian Americans for whom speaking up in matters of \u003c/span>\u003ca href=\"https://www.theatlantic.com/education/archive/2015/12/asian-americans-campus-protests/419301/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">social justice is more difficult\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after decades of believing that their level of privilege, created by the model minority myth, shields them from having to advocate for civil rights. This is even more complicated by the fact that silence is a traditional East Asian cultural custom. As Gu Xiao-le describes in \u003c/span>\u003ca href=\"https://web.uri.edu/iaics/files/05-Gu-Xiao-le.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">A Contrastive Analysis of Chinese and American Views about Silence and Debate\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">: “In … Chinese culture, communicators assume a great deal of commonality of knowledge and views, so that less is spelt out explicitly and much more is implicit or communicated in indirect ways … Silence holds a strong contextual meaning, such as showing obedience to senior people, or being a sign of respect for the wisdom and expertise of others, or disagreement while avoiding direct confrontation.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It comes as no surprise, then, that Asians have had trouble finding the voice to stand up for themselves—or others—in America. In recent years, we’ve seen the national conversation start moving past assimilationist ideals, but that shift hasn’t necessarily been reflected in the art we make. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Crazy Rich Asians\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Hollywood film that broke ground with its all-Asian cast in 2018, is a perfect example of this kind of art—a win for representation, but one that plays heavily into tropes of assimilationist \u003c/span>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/asian-americas-great-gatsby-moment/568213/\">\u003cspan style=\"font-weight: 400\">whitewashing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To All the Boys I’ve Loved Before\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Netflix Original also released in 2018, echoes these ideals: the film differs in practically no way from a classic American high school rom-com—it just substitutes an Asian girl for a white one. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, during the pandemic, our art carries a different weight entirely. Asian-American artists have a sense of responsibility of tackling issues of identity—of fighting this hate and xenophobia. That very feeling is what inspired me to make the projects I recently released on social media: a photo series with friends that denounced these attacks of racial violence, posts that spoke to how Asians were unfairly targeted for wearing masks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it wasn’t just me. In the rise of this discrimination, I saw an extraordinary amount of Asian American cultural work—essays, photos, videos, makeup—innumerable forms of expression all geared towards addressing the massive \u003c/span>\u003ca href=\"https://www.adl.org/blog/reports-of-anti-asian-assaults-harassment-and-hate-crimes-rise-as-coronavirus-spreads\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">spike in anti-Asian hate crimes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The art I saw differed greatly from the kind often touted in the American mainstream. It is, at its core, protest art—meant to challenge the status quo and incite change.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption aligncenter\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian-American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\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\">I\u003c/span>n contrast to the relatively tame AAPI-centered work that tends to get the most attention today, radical, progressive art played a key role in shaping the modern conception of Asian American identity. Before 1968, the concept of Asian America didn’t exist. The Asian American movement—often overlooked—changed all of that. In the late ’60s, public outrage over the Vietnam War spurred massive protests throughout the United States. At UC Berkeley, the first-ever \u003ca href=\"http://aam1968.blogspot.com/2008/01/introduction-to-asian-american-movement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Asian American Political Alliance \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">formed in May 1968. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Karen Ishizuka details in her book \u003c/span>\u003ca href=\"https://aaww.org/asian-american-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Serve the People\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Asian American activists were heavily inspired by Third World solidarity and the Black Liberation Movement. They lobbied together against American racism and imperialism, and found power in their dual identities rather than assimilating. Eventually, as the movement grew during the ’70s and ’80s, action spread to community initiatives, like protesting evictions and gentrification in the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In those years, AAPI protest art grew. “\u003c/span>\u003ca href=\"https://vimeo.com/142686397\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Roots\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a visual art exhibition in Los Angeles’ Chinese American Museum in 2017, featured artworks from those decades: AAPI newsletters were illustrated with slogans like “More power to the people;” films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cruisin’ J-Town\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a counterpoint to the racialized depictions of Asians in Hollywood; posters played on Chinese astrology to critique police violence, reading “Year of the People. Off the Pigs.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The movement died out in the early ’90s as forces of assimilation and economic ambition separated identity politics from their militant ideals and drew these progressive agendas to a close. But, disappointingly, the way our community is represented in the mainstream now feels far removed from this drive for change and the \u003c/span>\u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">solidarity between other minority groups we hope to find today\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\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\">N\u003c/span>ow, beyond the mainstream, there are still many AAPI works today that could be considered protest art, even if they take a different form than the works of the ’70s and ’80s. I recently read Viet Thanh Nguyen’s \u003ca href=\"https://www.amazon.com/Sympathizer-Novel-Pulitzer-Prize-Fiction/dp/0802124941\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Sympathizer\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, for example, and felt its complex portrayal of the immigrant-Southeast-Asian experience challenge many opinions I’d formed about my AAPI identity growing up in L.A.. Singer Rina Sawayama’s latest \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XojM2D3F-Dc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">SAWAYAMA\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is brilliantly strong, tackling deep East Asian issues of shame, fetishization and intergenerational trauma. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/B-aqgGlDjg8/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And friends in my community like \u003c/span>\u003ca href=\"https://www.instagram.com/potadachen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Ada Chen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an artist who makes sculptural jewelry that simultaneously breaks down Chinese stereotypes and celebrates Chinese traditions, constantly make work that goes deeper than just representation. Through these pieces, as well as my own work, I’ve found that any kind of art can be protest art—it isn’t any less powerful just because it’s less loud.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we move forward in the tumult of the coming months, I hope that we can remember the foundations of our AAPI identity. I hope that we work harder at dismantling the model minority myth and carry the ideals of the people who made our identity a reality. And no matter what we make, I just hope we create every piece of art with meaning—because we still have so much left to say.\u003c/span>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1469,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705020738,
"excerpt": "Radical art helped shape Asian American identity in the ’60s. That legacy informs how artists protest racism in the COVID-19 era.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Radical art helped shape Asian American identity in the ’60s. That legacy informs how artists protest racism in the COVID-19 era.",
"title": "What It Means to Make Art as an Asian American in the Pandemic | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What It Means to Make Art as an Asian American in the Pandemic",
"datePublished": "2020-05-14T15:00:58-07:00",
"dateModified": "2024-01-11T16:52:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "asian-american-protest-art-pandemic",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13880441/asian-american-protest-art-pandemic",
"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\">A\u003c/span> few months ago, I felt like 2020 was going to be a pivotal point for mainstream cultural acceptance for the Asian American and Pacific Islander (AAPI) community. 2019 seemed to offer one win after another: Rapper \u003ca href=\"https://www.instagram.com/saweetie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Saweetie\u003c/span>\u003c/a>’s \u003cspan style=\"font-weight: 400\">“My Type” became a summer hit; K-pop group \u003c/span>\u003ca href=\"https://www.instagram.com/blackpinkofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">BLACKPINK\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> headlined Coachella; indie favorites \u003c/span>\u003ca href=\"https://www.instagram.com/radvxz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Beabadoobee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/peggygou_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Peggy Gou\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> made big waves in the underground. Photographer \u003c/span>\u003ca href=\"https://www.instagram.com/andrew_kung/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Andrew Kung\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cem>\u003ca href=\"https://www.instagram.com/bananamag/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Banana Mag\u003c/span>\u003c/a>\u003c/em>\u003cspan style=\"font-weight: 400\"> brought Asian American identity to the forefront. And \u003c/span>\u003ca href=\"https://www.rottentomatoes.com/m/always_be_my_maybe_2019\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Always Be My Maybe\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, starring Ali Wong and Randall Park, won hearts with its\u003c/span>\u003ca href=\"https://www.elle.com/culture/movies-tv/a27698063/always-be-my-maybe-asian-representation-best-twitter-reactions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> Asian American take on a relatable rom-com plot line\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the fall, the momentum reached a near-fever pitch when Lulu Wang’s \u003c/span>\u003ca href=\"https://a24films.com/films/the-farewell\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Farewell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a film that tells the poignant story of a Chinese-American family navigating their grandma’s cancer diagnosis, released to critical acclaim. And then there was Bong Joon-ho’s phenomenal \u003c/span>\u003ca href=\"https://www.imdb.com/title/tt6751668/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Parasite\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. The film is actually a foreign one—it was created by a Korean filmmaker in Korea—but for me, it felt like a win when it became the first non-English film to ever \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/02/09/movies/parasite-movie-oscars-best-picture.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">take home an Oscar for Best Picture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in early February. Together, these artistic accomplishments felt like a massive shift towards recognizing Asian influence in the American cultural fabric.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, COVID-19 made it to the United States. My family followed the Chinese news, so they’d been updating me on the virus’ spread since January. I wasn’t that surprised when racist attacks started being reported in February and March—but what did surprise me was how many of them took place in New York, a city I recently relocated to from the Bay Area. A masked woman was \u003c/span>\u003ca href=\"https://nypost.com/2020/02/05/woman-wearing-face-mask-attacked-in-possible-coronavirus-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">kicked in the face\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Grand Street station. An Asian man \u003c/span>\u003ca href=\"https://nextshark.com/man-fights-back-after-getting-water-thrown-at-him-because-he-has-coronavirus-in-nyc/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">doused in water\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> while smoking a cigarette. Another was \u003c/span>\u003ca href=\"https://nypost.com/2020/03/05/straphanger-sprays-asian-man-with-febreze-in-possible-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">sprayed with Febreeze\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on the subway. A woman \u003c/span>\u003ca href=\"https://gothamist.com/news/nypd-investigating-hate-crime-after-asian-woman-allegedly-punched-not-wearing-face-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">was punched in the face in K-town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. A woman had \u003c/span>\u003ca href=\"https://www.buzzfeednews.com/article/clarissajanlim/asian-woman-chemical-burns-brooklyn-new-york-attack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">acid poured on her outside her house\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then, beyond New York: Student Jonathan Mok was \u003c/span>\u003ca href=\"https://www.cnn.com/2020/03/03/uk/coronavirus-assault-student-london-scli-intl-gbr/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">brutally beaten on the street in London\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. An elder was \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Video-Asian-man-attacked-mocked-in-San-15081317.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">harassed and attacked while collecting cans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. Two people were \u003c/span>\u003ca href=\"https://www.phillyvoice.com/philly-subway-assault-asian-couple-video-septa-police-coronavirus-fear-harassment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">assaulted by a group of teens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a train station in Philadelphia. A 2-year-old girl, 6-year-old boy and their father were \u003c/span>\u003ca href=\"https://www.thedailybeast.com/stabbing-of-asian-american-2-year-old-and-her-family-was-a-coronavirus-fueled-hate-crime-feds-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">stabbed in a murder attempt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a Sam’s Club in Texas.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-9@2x-copy-800x1000.jpg\" alt='A woman poses in a mask among cleaning products with the text, \"March 10: An Asian woman is punched in the face for not wearing a mask.\"' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Eda Yu in a photo series that draws attention to recent hate crimes against Asian Americans. \u003ccite>(Eda Yu, Mashael Al Saie, Christine Oh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The anger that comes from seeing this kind of racial violence is raw and exceedingly visceral. It’s hard to put into words—especially for Asian Americans for whom speaking up in matters of \u003c/span>\u003ca href=\"https://www.theatlantic.com/education/archive/2015/12/asian-americans-campus-protests/419301/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">social justice is more difficult\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after decades of believing that their level of privilege, created by the model minority myth, shields them from having to advocate for civil rights. This is even more complicated by the fact that silence is a traditional East Asian cultural custom. As Gu Xiao-le describes in \u003c/span>\u003ca href=\"https://web.uri.edu/iaics/files/05-Gu-Xiao-le.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">A Contrastive Analysis of Chinese and American Views about Silence and Debate\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">: “In … Chinese culture, communicators assume a great deal of commonality of knowledge and views, so that less is spelt out explicitly and much more is implicit or communicated in indirect ways … Silence holds a strong contextual meaning, such as showing obedience to senior people, or being a sign of respect for the wisdom and expertise of others, or disagreement while avoiding direct confrontation.”\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>\u003cspan style=\"font-weight: 400\">It comes as no surprise, then, that Asians have had trouble finding the voice to stand up for themselves—or others—in America. In recent years, we’ve seen the national conversation start moving past assimilationist ideals, but that shift hasn’t necessarily been reflected in the art we make. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Crazy Rich Asians\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Hollywood film that broke ground with its all-Asian cast in 2018, is a perfect example of this kind of art—a win for representation, but one that plays heavily into tropes of assimilationist \u003c/span>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/asian-americas-great-gatsby-moment/568213/\">\u003cspan style=\"font-weight: 400\">whitewashing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To All the Boys I’ve Loved Before\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Netflix Original also released in 2018, echoes these ideals: the film differs in practically no way from a classic American high school rom-com—it just substitutes an Asian girl for a white one. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, during the pandemic, our art carries a different weight entirely. Asian-American artists have a sense of responsibility of tackling issues of identity—of fighting this hate and xenophobia. That very feeling is what inspired me to make the projects I recently released on social media: a photo series with friends that denounced these attacks of racial violence, posts that spoke to how Asians were unfairly targeted for wearing masks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it wasn’t just me. In the rise of this discrimination, I saw an extraordinary amount of Asian American cultural work—essays, photos, videos, makeup—innumerable forms of expression all geared towards addressing the massive \u003c/span>\u003ca href=\"https://www.adl.org/blog/reports-of-anti-asian-assaults-harassment-and-hate-crimes-rise-as-coronavirus-spreads\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">spike in anti-Asian hate crimes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The art I saw differed greatly from the kind often touted in the American mainstream. It is, at its core, protest art—meant to challenge the status quo and incite change.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption aligncenter\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian-American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\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\">I\u003c/span>n contrast to the relatively tame AAPI-centered work that tends to get the most attention today, radical, progressive art played a key role in shaping the modern conception of Asian American identity. Before 1968, the concept of Asian America didn’t exist. The Asian American movement—often overlooked—changed all of that. In the late ’60s, public outrage over the Vietnam War spurred massive protests throughout the United States. At UC Berkeley, the first-ever \u003ca href=\"http://aam1968.blogspot.com/2008/01/introduction-to-asian-american-movement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Asian American Political Alliance \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">formed in May 1968. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Karen Ishizuka details in her book \u003c/span>\u003ca href=\"https://aaww.org/asian-american-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Serve the People\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Asian American activists were heavily inspired by Third World solidarity and the Black Liberation Movement. They lobbied together against American racism and imperialism, and found power in their dual identities rather than assimilating. Eventually, as the movement grew during the ’70s and ’80s, action spread to community initiatives, like protesting evictions and gentrification in the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In those years, AAPI protest art grew. “\u003c/span>\u003ca href=\"https://vimeo.com/142686397\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Roots\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a visual art exhibition in Los Angeles’ Chinese American Museum in 2017, featured artworks from those decades: AAPI newsletters were illustrated with slogans like “More power to the people;” films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cruisin’ J-Town\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a counterpoint to the racialized depictions of Asians in Hollywood; posters played on Chinese astrology to critique police violence, reading “Year of the People. Off the Pigs.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The movement died out in the early ’90s as forces of assimilation and economic ambition separated identity politics from their militant ideals and drew these progressive agendas to a close. But, disappointingly, the way our community is represented in the mainstream now feels far removed from this drive for change and the \u003c/span>\u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">solidarity between other minority groups we hope to find today\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\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\">N\u003c/span>ow, beyond the mainstream, there are still many AAPI works today that could be considered protest art, even if they take a different form than the works of the ’70s and ’80s. I recently read Viet Thanh Nguyen’s \u003ca href=\"https://www.amazon.com/Sympathizer-Novel-Pulitzer-Prize-Fiction/dp/0802124941\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Sympathizer\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, for example, and felt its complex portrayal of the immigrant-Southeast-Asian experience challenge many opinions I’d formed about my AAPI identity growing up in L.A.. Singer Rina Sawayama’s latest \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XojM2D3F-Dc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">SAWAYAMA\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is brilliantly strong, tackling deep East Asian issues of shame, fetishization and intergenerational trauma. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/B-aqgGlDjg8/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">And friends in my community like \u003c/span>\u003ca href=\"https://www.instagram.com/potadachen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Ada Chen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an artist who makes sculptural jewelry that simultaneously breaks down Chinese stereotypes and celebrates Chinese traditions, constantly make work that goes deeper than just representation. Through these pieces, as well as my own work, I’ve found that any kind of art can be protest art—it isn’t any less powerful just because it’s less loud.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">As we move forward in the tumult of the coming months, I hope that we can remember the foundations of our AAPI identity. I hope that we work harder at dismantling the model minority myth and carry the ideals of the people who made our identity a reality. And no matter what we make, I just hope we create every piece of art with meaning—because we still have so much left to say.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13880441/asian-american-protest-art-pandemic",
"authors": [
"11391"
],
"categories": [
"arts_1",
"arts_2303"
],
"tags": [
"arts_11007",
"arts_4672",
"arts_2767",
"arts_10126",
"arts_10127",
"arts_10342",
"arts_10278",
"arts_5375",
"arts_3652"
],
"featImg": "arts_13880464",
"label": "arts"
},
"arts_13879872": {
"type": "posts",
"id": "arts_13879872",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13879872",
"score": null,
"sort": [
1589492129000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1589492129,
"format": "standard",
"title": "Don’t Worry: Your New Jigsaw Puzzle Obsession is Perfectly Normal",
"headTitle": "Don’t Worry: Your New Jigsaw Puzzle Obsession is Perfectly Normal | KQED",
"content": "\u003cp>A few years ago, one of my best friends and I attempted to do a 1,000-piece jigsaw together. I bought a puzzle version of Henri Matisse’s \u003ci>Femme au Chapeau\u003c/i> from the \u003ca href=\"https://www.sfmoma.org/museumfromhome/?gclid=EAIaIQobChMI9tHHw8Sy6QIVGD2tBh0mWwJCEAAYASAAEgI6sPD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a> store and the two of us began working on it during Nicole’s regular visits to my apartment. It was my first adult attempt at a jigsaw.\u003c/p>\n\u003cfigure id=\"attachment_13880443\" class=\"wp-caption alignright\" style=\"max-width: 773px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/MatisseFemme.jpg\" alt=\"\" width=\"773\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/MatisseFemme.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/MatisseFemme-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/MatisseFemme-768x1049.jpg 768w\" sizes=\"(max-width: 773px) 100vw, 773px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Femme au chapeau (Woman with a Hat),’ 1905; a.k.a. the hardest puzzle in the world. \u003ccite>(Courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What became apparent fairly quickly was that Nicole—a calm and gentle human—had the appropriate disposition for completing the \u003ci>Femme\u003c/i>, while I—infuriatingly impatient—definitely did not. When Nicole came over, I didn’t want to sit and do a puzzle, I wanted to go to a bar, or a restaurant, or a movie. After investing about six hours in the jigsaw, and realizing it was going to take at least six more, I unceremoniously quit.\u003c/p>\n\u003cp>The \u003ci>Femme\u003c/i> languished, half-finished, hidden under a table cloth on my dining table for the better part of a year, until Nicole finally gave up on me. When she arrived one day with a roll-up puzzle mat and whisked it away to finally complete the thing, I couldn’t have been happier to see the end of that project.\u003c/p>\n\u003cp>Fast forward to 2020, shelter-in-place day 60-something, and I have completed three 500-piece jigsaw puzzles in the last week. I finished three others in the month before that. And there are rules. If I start one on my own, my boyfriend is forbidden from helping me finish it. If we start one together, we generously take turns letting each other place the last piece.\u003c/p>\n\u003cp>Our obsession is now so full-blown, we braved a San Leandro Walmart last Saturday night in the desperate hunt for a new jigsaw. We found the shelves so woefully empty it was as if we were in the toilet paper aisle. (I eventually managed to find one solitary jigsaw hiding among the board games; we snapped it up.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next day, when we went to pick up a pizza from \u003ca href=\"http://www.pibarsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pi Bar\u003c/a> in the Mission, we found the owner gleefully doing a giant puzzle on the long table in the window. When I complimented her progress, she said, “A customer just came in here and said that separating up the pieces according to color was cheating!”\u003c/p>\n\u003cp>“No it isn’t!” I exclaimed, genuinely aghast.\u003c/p>\n\u003cp>“But looking at the picture is,” my boyfriend chimed in, complicating matters.\u003c/p>\n\u003cp>We’re not the only ones treating puzzles this seriously. Jigsaw mania is in full swing everywhere. In the first weeks of shelter-in-place, Google searches for puzzles \u003ca href=\"https://www.yahoo.com/lifestyle/puzzle-shortage-180633776.html\" target=\"_blank\" rel=\"noopener noreferrer\">shot up precipitously\u003c/a>. Last month, Rohnert Park toy store \u003ca href=\"https://www.fundemoniumtoys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fundemonium\u003c/a> (which offers curbside pick-up and delivery) reported its jigsaw sales had \u003ca href=\"https://www.pressdemocrat.com/news/10900803-181/fundemonium-in-rohnert-park-doing\" target=\"_blank\" rel=\"noopener noreferrer\">tripled\u003c/a>, compared to the same period in 2019. Ravensburger, one of the world’s biggest puzzle manufacturers, backs up that trend, reporting a \u003ca href=\"https://www.cnbc.com/2020/04/03/coronavirus-sends-demand-for-jigsaw-puzzles-surging.html\" target=\"_blank\" rel=\"noopener noreferrer\">370% jump\u003c/a> in sales.\u003c/p>\n\u003cp>And this has all happened before.\u003c/p>\n\u003cp>[aside postID='arts_13880390,arts_13879258,arts_13876619' label='Get your mind off things']By the end of the Great Depression, manufacturers were producing 10 million puzzles a week (a WEEK!), many of which were rented out for a nickel a night from small lending libraries. Amateur puzzle makers proliferated to fill the demand and unemployed skilled workers began \u003ca href=\"https://www.oldpuzzles.com/examples-collection/1930s-and-1940s-hand-cut-puzzles\" target=\"_blank\" rel=\"noopener noreferrer\">hand cutting wooden puzzles\u003c/a> in their attics and garages.\u003c/p>\n\u003cp>That DIY spirit followed an earlier jigsaw craze kickstarted by a Massachusetts woman (her name lost to history) who started cutting small-piece puzzles in 1907 out of magazine covers. (Before this, jigsaws were made of big pieces and seen as almost exclusively for children since their \u003ca href=\"https://www.puzzlewarehouse.com/history-of-puzzles/\" target=\"_blank\" rel=\"noopener noreferrer\">invention\u003c/a> in 18th-century Europe.) The Massachusetts puzzle maker originally sold them to benefit a children’s hospital, but the trend proved so popular, it spread all the way to England by 1909. The popularity of puzzles got another boost during World War II, due to a shortage of accessible forms of entertainment.\u003c/p>\n\u003cp>So why the return to jigsaws in 2020? Why, during shelter in place, are so many of us acting as if all our electronics are broken?\u003c/p>\n\u003cp>During the financial crisis of 2008, board game sales \u003ca href=\"https://www.history.com/news/great-depression-games-monopoly\" target=\"_blank\" rel=\"noopener noreferrer\">increased by 6%\u003c/a>, but that boost came mostly from the likes of Monopoly, Trivial Pursuit and Settlers of Catan—group activities. Though still good options for families sheltering in place together, smaller households, now isolated, simply don’t contain enough people to play these types of games in any satisfying way. There are no such restrictions with jigsaws.\u003c/p>\n\u003cp>Their appeal lies not just in providing a cheap, time-consuming source of entertainment, but in the sense of order they bring upon completion. As puzzle historian \u003ca href=\"https://www.cnbc.com/2020/04/03/coronavirus-sends-demand-for-jigsaw-puzzles-surging.html\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Williams told CNBC\u003c/a> last month, “It’s something you can control [and] it’s also a challenge over which you can prevail.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.zebrapartners.net/wp-content/uploads/2018/12/Ravensburger-Infographic-National-Puzzle-Month-2019.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">pre-COVID-19 study\u003c/a> by Ravensburger and the research firm Ipsos, 59% of people interviewed found puzzles relaxing, 57% said they were fun, 47% said they relieved stress, and 42% referred to them as a “brain boost.”\u003c/p>\n\u003cp>Personally, I find the exercise of sorting through pieces and constructing puzzles similar to meditation. Jigsaws require a singular focus that temporarily provides my brain with a reprieve from outside anxieties. What’s more, the image is completely irrelevant. After emerging from a couple of hours working on a puzzle, no matter what it is, I feel significantly more relaxed than when I started.\u003c/p>\n\u003cfigure id=\"attachment_13880416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/puzzles-800x800.jpg\" alt=\"A weird snapshot of the puzzles I've been doing.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles.jpg 1104w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A weird snapshot of the puzzles I’ve been doing. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This weekend, plans are in place to retrieve my old nemesis, the \u003ci>Femme au Chapeau\u003c/i>, from Nicole’s house. When it left, I swore I never wanted to see it again. But the prolonged distance from my beloved restaurants, bars and movie theaters has given me a brand-new focus that feels mentally beneficial. It has forced me to find joy in the slower, quieter things in life. And it has allowed me to discover patience I didn’t know I had.\u003c/p>\n\u003cp>In 2017, a jigsaw enthusiast named Angelica Pajkovic wrote about what she experienced while doing puzzles, for \u003ca href=\"https://www.themindfulword.org/2017/puzzling-mind-jigsaw-puzzles\" target=\"_blank\" rel=\"noopener noreferrer\">The Mindful Word\u003c/a>. “My perception of time, along with my ability to think of anything but the task at hand, is completely lost,” she explained. “I’m living in the moment, and no external or internal factors can distract me.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Three years later, for better or worse, the world has slowed down enough to catch up with her.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1131,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705020740,
"excerpt": "America hasn‘t loved jigsaw puzzles this much since the Great Depression. In the age of the internet, what‘s their allure? ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "America hasn‘t loved jigsaw puzzles this much since the Great Depression. In the age of the internet, what‘s their allure? ",
"title": "Don’t Worry: Your New Jigsaw Puzzle Obsession is Perfectly Normal | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Don’t Worry: Your New Jigsaw Puzzle Obsession is Perfectly Normal",
"datePublished": "2020-05-14T14:35:29-07:00",
"dateModified": "2024-01-11T16:52:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13879872/dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, one of my best friends and I attempted to do a 1,000-piece jigsaw together. I bought a puzzle version of Henri Matisse’s \u003ci>Femme au Chapeau\u003c/i> from the \u003ca href=\"https://www.sfmoma.org/museumfromhome/?gclid=EAIaIQobChMI9tHHw8Sy6QIVGD2tBh0mWwJCEAAYASAAEgI6sPD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a> store and the two of us began working on it during Nicole’s regular visits to my apartment. It was my first adult attempt at a jigsaw.\u003c/p>\n\u003cfigure id=\"attachment_13880443\" class=\"wp-caption alignright\" style=\"max-width: 773px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/MatisseFemme.jpg\" alt=\"\" width=\"773\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/MatisseFemme.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/MatisseFemme-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/MatisseFemme-768x1049.jpg 768w\" sizes=\"(max-width: 773px) 100vw, 773px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Femme au chapeau (Woman with a Hat),’ 1905; a.k.a. the hardest puzzle in the world. \u003ccite>(Courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What became apparent fairly quickly was that Nicole—a calm and gentle human—had the appropriate disposition for completing the \u003ci>Femme\u003c/i>, while I—infuriatingly impatient—definitely did not. When Nicole came over, I didn’t want to sit and do a puzzle, I wanted to go to a bar, or a restaurant, or a movie. After investing about six hours in the jigsaw, and realizing it was going to take at least six more, I unceremoniously quit.\u003c/p>\n\u003cp>The \u003ci>Femme\u003c/i> languished, half-finished, hidden under a table cloth on my dining table for the better part of a year, until Nicole finally gave up on me. When she arrived one day with a roll-up puzzle mat and whisked it away to finally complete the thing, I couldn’t have been happier to see the end of that project.\u003c/p>\n\u003cp>Fast forward to 2020, shelter-in-place day 60-something, and I have completed three 500-piece jigsaw puzzles in the last week. I finished three others in the month before that. And there are rules. If I start one on my own, my boyfriend is forbidden from helping me finish it. If we start one together, we generously take turns letting each other place the last piece.\u003c/p>\n\u003cp>Our obsession is now so full-blown, we braved a San Leandro Walmart last Saturday night in the desperate hunt for a new jigsaw. We found the shelves so woefully empty it was as if we were in the toilet paper aisle. (I eventually managed to find one solitary jigsaw hiding among the board games; we snapped it up.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next day, when we went to pick up a pizza from \u003ca href=\"http://www.pibarsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pi Bar\u003c/a> in the Mission, we found the owner gleefully doing a giant puzzle on the long table in the window. When I complimented her progress, she said, “A customer just came in here and said that separating up the pieces according to color was cheating!”\u003c/p>\n\u003cp>“No it isn’t!” I exclaimed, genuinely aghast.\u003c/p>\n\u003cp>“But looking at the picture is,” my boyfriend chimed in, complicating matters.\u003c/p>\n\u003cp>We’re not the only ones treating puzzles this seriously. Jigsaw mania is in full swing everywhere. In the first weeks of shelter-in-place, Google searches for puzzles \u003ca href=\"https://www.yahoo.com/lifestyle/puzzle-shortage-180633776.html\" target=\"_blank\" rel=\"noopener noreferrer\">shot up precipitously\u003c/a>. Last month, Rohnert Park toy store \u003ca href=\"https://www.fundemoniumtoys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fundemonium\u003c/a> (which offers curbside pick-up and delivery) reported its jigsaw sales had \u003ca href=\"https://www.pressdemocrat.com/news/10900803-181/fundemonium-in-rohnert-park-doing\" target=\"_blank\" rel=\"noopener noreferrer\">tripled\u003c/a>, compared to the same period in 2019. Ravensburger, one of the world’s biggest puzzle manufacturers, backs up that trend, reporting a \u003ca href=\"https://www.cnbc.com/2020/04/03/coronavirus-sends-demand-for-jigsaw-puzzles-surging.html\" target=\"_blank\" rel=\"noopener noreferrer\">370% jump\u003c/a> in sales.\u003c/p>\n\u003cp>And this has all happened before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13880390,arts_13879258,arts_13876619",
"label": "Get your mind off things "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>By the end of the Great Depression, manufacturers were producing 10 million puzzles a week (a WEEK!), many of which were rented out for a nickel a night from small lending libraries. Amateur puzzle makers proliferated to fill the demand and unemployed skilled workers began \u003ca href=\"https://www.oldpuzzles.com/examples-collection/1930s-and-1940s-hand-cut-puzzles\" target=\"_blank\" rel=\"noopener noreferrer\">hand cutting wooden puzzles\u003c/a> in their attics and garages.\u003c/p>\n\u003cp>That DIY spirit followed an earlier jigsaw craze kickstarted by a Massachusetts woman (her name lost to history) who started cutting small-piece puzzles in 1907 out of magazine covers. (Before this, jigsaws were made of big pieces and seen as almost exclusively for children since their \u003ca href=\"https://www.puzzlewarehouse.com/history-of-puzzles/\" target=\"_blank\" rel=\"noopener noreferrer\">invention\u003c/a> in 18th-century Europe.) The Massachusetts puzzle maker originally sold them to benefit a children’s hospital, but the trend proved so popular, it spread all the way to England by 1909. The popularity of puzzles got another boost during World War II, due to a shortage of accessible forms of entertainment.\u003c/p>\n\u003cp>So why the return to jigsaws in 2020? Why, during shelter in place, are so many of us acting as if all our electronics are broken?\u003c/p>\n\u003cp>During the financial crisis of 2008, board game sales \u003ca href=\"https://www.history.com/news/great-depression-games-monopoly\" target=\"_blank\" rel=\"noopener noreferrer\">increased by 6%\u003c/a>, but that boost came mostly from the likes of Monopoly, Trivial Pursuit and Settlers of Catan—group activities. Though still good options for families sheltering in place together, smaller households, now isolated, simply don’t contain enough people to play these types of games in any satisfying way. There are no such restrictions with jigsaws.\u003c/p>\n\u003cp>Their appeal lies not just in providing a cheap, time-consuming source of entertainment, but in the sense of order they bring upon completion. As puzzle historian \u003ca href=\"https://www.cnbc.com/2020/04/03/coronavirus-sends-demand-for-jigsaw-puzzles-surging.html\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Williams told CNBC\u003c/a> last month, “It’s something you can control [and] it’s also a challenge over which you can prevail.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.zebrapartners.net/wp-content/uploads/2018/12/Ravensburger-Infographic-National-Puzzle-Month-2019.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">pre-COVID-19 study\u003c/a> by Ravensburger and the research firm Ipsos, 59% of people interviewed found puzzles relaxing, 57% said they were fun, 47% said they relieved stress, and 42% referred to them as a “brain boost.”\u003c/p>\n\u003cp>Personally, I find the exercise of sorting through pieces and constructing puzzles similar to meditation. Jigsaws require a singular focus that temporarily provides my brain with a reprieve from outside anxieties. What’s more, the image is completely irrelevant. After emerging from a couple of hours working on a puzzle, no matter what it is, I feel significantly more relaxed than when I started.\u003c/p>\n\u003cfigure id=\"attachment_13880416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/puzzles-800x800.jpg\" alt=\"A weird snapshot of the puzzles I've been doing.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/puzzles.jpg 1104w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A weird snapshot of the puzzles I’ve been doing. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This weekend, plans are in place to retrieve my old nemesis, the \u003ci>Femme au Chapeau\u003c/i>, from Nicole’s house. When it left, I swore I never wanted to see it again. But the prolonged distance from my beloved restaurants, bars and movie theaters has given me a brand-new focus that feels mentally beneficial. It has forced me to find joy in the slower, quieter things in life. And it has allowed me to discover patience I didn’t know I had.\u003c/p>\n\u003cp>In 2017, a jigsaw enthusiast named Angelica Pajkovic wrote about what she experienced while doing puzzles, for \u003ca href=\"https://www.themindfulword.org/2017/puzzling-mind-jigsaw-puzzles\" target=\"_blank\" rel=\"noopener noreferrer\">The Mindful Word\u003c/a>. “My perception of time, along with my ability to think of anything but the task at hand, is completely lost,” she explained. “I’m living in the moment, and no external or internal factors can distract me.”\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>Three years later, for better or worse, the world has slowed down enough to catch up with her.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13879872/dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_2303"
],
"tags": [
"arts_2767",
"arts_10126",
"arts_10127",
"arts_10416",
"arts_585"
],
"featImg": "arts_13880417",
"label": "arts_140"
},
"arts_13879939": {
"type": "posts",
"id": "arts_13879939",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13879939",
"score": null,
"sort": [
1589401230000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1589401230,
"format": "standard",
"title": "Music Studios, Already Struggling, Adapt as Pandemic Shifts the Industry",
"headTitle": "Music Studios, Already Struggling, Adapt as Pandemic Shifts the Industry | KQED",
"content": "\u003cp>\u003ca href=\"https://www.hydestreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hyde Street Studios\u003c/a> is a living piece of San Francisco music history. Opened in 1969, this is where the Grateful Dead and Santana crafted oozing, Summer-of-Love psychedelia that became synonymous with hippie counterculture. In the ’80s and ’90s, it nurtured local punk and hip-hop scenes, with Green Day, the Dead Kennedys and Tupac laying down tracks. And more recently, it’s hosted famous touring musicians looking to record on their Bay Area tour stops, including Kanye West and A$AP Ferg.\u003c/p>\n\u003cp>But despite an impressive resumé, a changing music industry—and then a pandemic—left Hyde Street strapped for cash. Prior to the Bay Area’s shelter-in-place orders, most of its high profile clientele had dwindled, and the bulk of its business came from rising (yet financially struggling) local artists who paid for their recordings out-of-pocket rather than through label advances. Now, its rooms have been without music for the first time in five decades.\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“In the ’90s there were record labels with headquarters in San Francisco that were signing bands left and right and giving them big budgets to make records,” says studio manager Jack Kertzman, adding that rates for studios have stagnated since the digital era began. “They would come in and book the studio for two weeks or a month …. and have large expense accounts.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-800x889.jpg\" alt=\"Kanye West with Hyde Street Studios engineer Will Chasen in a recording studio with a mixing console.\" width=\"800\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-800x889.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-768x853.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanye West with Hyde Street Studios engineer Will Chasen. \u003ccite>(Hyde Street Studios.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not the case anymore, says Kertzman, adding that bands often book rooms for a couple of days at a time and take care of the rest with home recording. With business dried up and bills still mounting during shelter in place, Hyde Street turned to crowdfunding for support. An ongoing \u003ca href=\"https://www.gofundme.com/f/keep-hss-open?utm_source=widget&utm_medium=referral&utm_campaign=p_cp+share-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> raised just north of $32,000. That’s about $10,000 short of the studio’s $42,500 goal, which would cover rent, electricity and other operational costs for three months.\u003c/p>\n\u003cp>But Kertzman is nervous about what will happen after that. With Governor Gavin Newsom suggesting that large gatherings of hundreds of people are off until there’s a COVID-19 vaccine, it seems that California’s concert industry is on hiatus for the foreseeable future. (Public health officials and vaccine companies estimate that a vaccine won’t be ready until mid-to-late 2021.) [aside postid='arts_11817285']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That means bigger touring artists won’t be stopping off to record at Hyde Street while they’re in San Francisco. Many smaller local bands, who typically make most of their income from hitting the road, won’t have the funds to do so either. The service industry, a major employer of musicians, will also take time to recover, as restaurants will operate at partial capacity when they resume dine-in service. The entire local music ecosystem will be disrupted for years to come.\u003c/p>\n\u003cfigure id=\"attachment_13880360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-800x534.png\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Garcia, David Crosby, Phil Lesh and Graham Nash at Hyde Street Studios in 1970. \u003ccite>(Hyde Street Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An added challenge for studios is ineligibility for relief programs. Most of them don’t technically have employees—all of their engineers are freelancers—so they aren’t eligible for the Small Business Administration’s payroll protection loans or local relief efforts.\u003c/p>\n\u003cp>With the new rise in livestreamed performances, Hyde Street and other studios are looking for ways to keep their businesses relevant. \u003cspan class=\"s1\">“I’m expecting to see a lasting impact much, much beyond when the shelter in place lifts, for our business and our industry,” says Kertzman. “I think we’re going to see more artists wanting to livestream, so we’re going to try to pivot in that way and offer those services. And I think we’re going to see less people having the money to do records.”\u003c/span>\u003c/p>\n\u003cp>Patrick Brown of \u003ca href=\"http://differentfurstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur Studios\u003c/a>, open since 1968, is in a similar situation. In addition to selling pre-booked studio sessions at half price for when shelter in place lifts, he’s thinking about other services he can provide as the music industry inevitably changes shape. He’s looking into upgrading video equipment so that bands can record high quality livestreams, which he believes will be here to stay after the pandemic. [aside postid='arts_13879830']\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“Everybody’s been watching these \u003ca href=\"https://www.vulture.com/2020/04/verzuz-instagram-live-battles-ranked.html\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz battles\u003c/a>, I love that,” he says of the popular music producer showdowns on Instagram Live that have featured stars like Swizz Beats, Lil Jon and Teddy Riley playing their most memorable songs out of their homes. “Some of these guys should be doing this already. It’s sparked so many people to go back and listen to records that they loved. I watched the Lil Jon and T-Pain one. You watch them and you can see that the two of them \u003c/span>\u003cspan class=\"s1\">have fun and you can see how much they love the music they’re making. … You get to hear weird stories. That aspect is something people want now.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“Nobody wants the distant artist—they want to know who you are,” Brown continues. “There’s a closeness and an insight that people crave that you used to have to watch the VH1 \u003cem>Behind the Music\u003c/em> docs for.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Different Fur Studios is home to Text Me Records, which features local artists like Mikos Da Gawd, Michael Sneed and WADE08 (left to right). \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, most artist livestreams on Instagram and other platforms have been free, even when they’ve featured major stars. But Brown says that this could quickly change with brand sponsorships and paywalls, especially if watching livestreams becomes a permanent part of music consumers’ habits. “\u003cspan class=\"s1\">Once [the pandemic] actually clears it will be interesting if people will be addicted to it,” he says.\u003c/span>\u003c/p>\n\u003cp>And in terms of alternative survival strategies, other studios are looking toward revenue streams outside the music realm. \u003ca href=\"https://www.25thstreetrecording.com/\" target=\"_blank\" rel=\"noopener noreferrer\">25th Street Recording\u003c/a> in Oakland, open since 2011, is known for being able to accommodate large ensembles, but was already moving away from this model years before the pandemic. With the Bay Area’s music scene suffering from the region’s ongoing affordability crisis, 25th Street has incorporated podcast, voiceover and advertising clients into its portfolio to make its business model more sustainable—a move Different Fur has also made. [aside postid='arts_13880011']\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ve seen affects of that through attrition. We’ve got big studios, famous places like Fantasy Studios—there’s a lot of places that have gone away and a lot of studio owners are scratching their heads and throwing their hands up and going, ‘Gosh, how do I make ends meet here?’” \u003c/span>says John Schimpf, the general manager of 25th Street, referencing the popular, historic Berkeley studio that shuttered in 2018 due to financial struggles.\u003c/p>\n\u003cp>Especially now with the pandemic, there are even more unknowns for creative industries in the Bay Area. But studio operators remain hopeful that with creative thinking and a willingness to adapt, they’ll continue to survive and perhaps eventually thrive once again.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“The recording industry isn’t especially lucrative, the margins are not amazing,” says Hyde Street’s Kertzman. “Those of us who are in it are in it because it’s a labor of love.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\n\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1259,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705020748,
"excerpt": "Bands will be strapped for cash long after the pandemic ends, so recording studios look to livestreaming and other strategies for sustainability. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Bands will be strapped for cash long after the pandemic ends, so recording studios look to livestreaming and other strategies for sustainability. ",
"title": "Music Studios, Already Struggling, Adapt as Pandemic Shifts the Industry | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Music Studios, Already Struggling, Adapt as Pandemic Shifts the Industry",
"datePublished": "2020-05-13T13:20:30-07:00",
"dateModified": "2024-01-11T16:52:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "music-studios-already-struggling-adapt-as-pandemic-shifts-the-industry",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13879939/music-studios-already-struggling-adapt-as-pandemic-shifts-the-industry",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.hydestreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hyde Street Studios\u003c/a> is a living piece of San Francisco music history. Opened in 1969, this is where the Grateful Dead and Santana crafted oozing, Summer-of-Love psychedelia that became synonymous with hippie counterculture. In the ’80s and ’90s, it nurtured local punk and hip-hop scenes, with Green Day, the Dead Kennedys and Tupac laying down tracks. And more recently, it’s hosted famous touring musicians looking to record on their Bay Area tour stops, including Kanye West and A$AP Ferg.\u003c/p>\n\u003cp>But despite an impressive resumé, a changing music industry—and then a pandemic—left Hyde Street strapped for cash. Prior to the Bay Area’s shelter-in-place orders, most of its high profile clientele had dwindled, and the bulk of its business came from rising (yet financially struggling) local artists who paid for their recordings out-of-pocket rather than through label advances. Now, its rooms have been without music for the first time in five decades.\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“In the ’90s there were record labels with headquarters in San Francisco that were signing bands left and right and giving them big budgets to make records,” says studio manager Jack Kertzman, adding that rates for studios have stagnated since the digital era began. “They would come in and book the studio for two weeks or a month …. and have large expense accounts.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-800x889.jpg\" alt=\"Kanye West with Hyde Street Studios engineer Will Chasen in a recording studio with a mixing console.\" width=\"800\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-800x889.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason-768x853.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Kanye-West-w-eng-Will-Chason.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanye West with Hyde Street Studios engineer Will Chasen. \u003ccite>(Hyde Street Studios.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not the case anymore, says Kertzman, adding that bands often book rooms for a couple of days at a time and take care of the rest with home recording. With business dried up and bills still mounting during shelter in place, Hyde Street turned to crowdfunding for support. An ongoing \u003ca href=\"https://www.gofundme.com/f/keep-hss-open?utm_source=widget&utm_medium=referral&utm_campaign=p_cp+share-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> raised just north of $32,000. That’s about $10,000 short of the studio’s $42,500 goal, which would cover rent, electricity and other operational costs for three months.\u003c/p>\n\u003cp>But Kertzman is nervous about what will happen after that. With Governor Gavin Newsom suggesting that large gatherings of hundreds of people are off until there’s a COVID-19 vaccine, it seems that California’s concert industry is on hiatus for the foreseeable future. (Public health officials and vaccine companies estimate that a vaccine won’t be ready until mid-to-late 2021.) \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11817285",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>That means bigger touring artists won’t be stopping off to record at Hyde Street while they’re in San Francisco. Many smaller local bands, who typically make most of their income from hitting the road, won’t have the funds to do so either. The service industry, a major employer of musicians, will also take time to recover, as restaurants will operate at partial capacity when they resume dine-in service. The entire local music ecosystem will be disrupted for years to come.\u003c/p>\n\u003cfigure id=\"attachment_13880360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880360\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-800x534.png\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Garcia-Crosby-Lesh-Young-Studio-A-1970.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Garcia, David Crosby, Phil Lesh and Graham Nash at Hyde Street Studios in 1970. \u003ccite>(Hyde Street Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An added challenge for studios is ineligibility for relief programs. Most of them don’t technically have employees—all of their engineers are freelancers—so they aren’t eligible for the Small Business Administration’s payroll protection loans or local relief efforts.\u003c/p>\n\u003cp>With the new rise in livestreamed performances, Hyde Street and other studios are looking for ways to keep their businesses relevant. \u003cspan class=\"s1\">“I’m expecting to see a lasting impact much, much beyond when the shelter in place lifts, for our business and our industry,” says Kertzman. “I think we’re going to see more artists wanting to livestream, so we’re going to try to pivot in that way and offer those services. And I think we’re going to see less people having the money to do records.”\u003c/span>\u003c/p>\n\u003cp>Patrick Brown of \u003ca href=\"http://differentfurstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur Studios\u003c/a>, open since 1968, is in a similar situation. In addition to selling pre-booked studio sessions at half price for when shelter in place lifts, he’s thinking about other services he can provide as the music industry inevitably changes shape. He’s looking into upgrading video equipment so that bands can record high quality livestreams, which he believes will be here to stay after the pandemic. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13879830",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“Everybody’s been watching these \u003ca href=\"https://www.vulture.com/2020/04/verzuz-instagram-live-battles-ranked.html\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz battles\u003c/a>, I love that,” he says of the popular music producer showdowns on Instagram Live that have featured stars like Swizz Beats, Lil Jon and Teddy Riley playing their most memorable songs out of their homes. “Some of these guys should be doing this already. It’s sparked so many people to go back and listen to records that they loved. I watched the Lil Jon and T-Pain one. You watch them and you can see that the two of them \u003c/span>\u003cspan class=\"s1\">have fun and you can see how much they love the music they’re making. … You get to hear weird stories. That aspect is something people want now.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“Nobody wants the distant artist—they want to know who you are,” Brown continues. “There’s a closeness and an insight that people crave that you used to have to watch the VH1 \u003cem>Behind the Music\u003c/em> docs for.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Different Fur Studios is home to Text Me Records, which features local artists like Mikos Da Gawd, Michael Sneed and WADE08 (left to right). \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, most artist livestreams on Instagram and other platforms have been free, even when they’ve featured major stars. But Brown says that this could quickly change with brand sponsorships and paywalls, especially if watching livestreams becomes a permanent part of music consumers’ habits. “\u003cspan class=\"s1\">Once [the pandemic] actually clears it will be interesting if people will be addicted to it,” he says.\u003c/span>\u003c/p>\n\u003cp>And in terms of alternative survival strategies, other studios are looking toward revenue streams outside the music realm. \u003ca href=\"https://www.25thstreetrecording.com/\" target=\"_blank\" rel=\"noopener noreferrer\">25th Street Recording\u003c/a> in Oakland, open since 2011, is known for being able to accommodate large ensembles, but was already moving away from this model years before the pandemic. With the Bay Area’s music scene suffering from the region’s ongoing affordability crisis, 25th Street has incorporated podcast, voiceover and advertising clients into its portfolio to make its business model more sustainable—a move Different Fur has also made. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13880011",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ve seen affects of that through attrition. We’ve got big studios, famous places like Fantasy Studios—there’s a lot of places that have gone away and a lot of studio owners are scratching their heads and throwing their hands up and going, ‘Gosh, how do I make ends meet here?’” \u003c/span>says John Schimpf, the general manager of 25th Street, referencing the popular, historic Berkeley studio that shuttered in 2018 due to financial struggles.\u003c/p>\n\u003cp>Especially now with the pandemic, there are even more unknowns for creative industries in the Bay Area. But studio operators remain hopeful that with creative thinking and a willingness to adapt, they’ll continue to survive and perhaps eventually thrive once again.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“The recording industry isn’t especially lucrative, the margins are not amazing,” says Hyde Street’s Kertzman. “Those of us who are in it are in it because it’s a labor of love.”\u003c/span>\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 class=\"p1\">\n\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13879939/music-studios-already-struggling-adapt-as-pandemic-shifts-the-industry",
"authors": [
"11387"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10126",
"arts_10127",
"arts_10342",
"arts_10278",
"arts_9788",
"arts_10416"
],
"featImg": "arts_13880358",
"label": "arts"
},
"arts_13880011": {
"type": "posts",
"id": "arts_13880011",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13880011",
"score": null,
"sort": [
1589234458000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1589234458,
"format": "standard",
"title": "Mozzy's New Album Processes Trauma, Incarceration by Documenting His Healing",
"headTitle": "Mozzy’s New Album Processes Trauma, Incarceration by Documenting His Healing | KQED",
"content": "\u003cp>Mozzy has carried his community with him throughout his career. So for the release of his new album \u003cem>Beyond Bulletproof\u003c/em>—which dropped May 1 on EMPIRE—the beloved Sacramento rapper opted against streaming giants Spotify and Apple Music to host the record’s debut. Instead, he premiered it on JPay—an electronic communications service for incarcerated people.\u003c/p>\n\u003cp>“I got a lot of people in there, man, a lot of people counting on me,” says Mozzy, whose real name is Timothy Patterson. “A lot of people that shared this dream with me… and I feel like they’re supposed to be right here. We supposed to be sharing this experience.”\u003c/p>\n\u003cp>\u003cem>Beyond Bulletproof\u003c/em> is a “self-help book for the trenches,” Mozzy says. The street raps and unglamourous portrayals of gang life, gun violence and the pain remain, but with a concerted effort to share wisdom earned through self-reflection.\u003c/p>\n\u003cp>https://youtu.be/DIQ24uiuHOI\u003c/p>\n\u003cp>There’s a lightness to the record, too—the lilting flute on “So Lonely,” the gentle guitar opening on “Bulletproofly” and the muted sample of Mario’s ’90s R&B classic “Let Me Love You” on “Big Homie from the Hood.” The singers Mozzy employs throughout the record—Shordie Shordie, Blxst and Eric Bellinger—soften the edges of Mozzy’s trademark gruff voice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With nods to his incarcerated loved ones and his own time in jail woven throughout the record, Mozzy manages to share his dream with those behind bars. Throughout the album, he recalls not having enough to buy food in jail, a backwards legal system and his grief for loved ones with no release date in sight.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3Ud5r7QHfMF1UhH8a5M1cH\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Recently, the COVID-19 pandemic has made things more challenging for incarcerated people. The nearly 2.3 million people locked up in prisons and jails across the country can’t take the same precautions as those of us outside, including maintaining a six-foot distance and thoroughly cleaning hands and surfaces.\u003c/p>\n\u003cp>To mitigate the spread of the virus, federal facilities and California prisons went on lockdown last month. The measure is meant to protect the safety of incarcerated people and staff, but in action it looks a lot like the way facilities respond to riots. The protocol varies, but lockdown restrictions typically include an end to visitation, confining people to their cells for up to 23 hours a day and limiting access to day rooms, mail collection, phone calls and educational programs.\u003c/p>\n\u003cp>Without the few avenues that keep incarcerated people connected to the outside world, the isolation they feel inside a facility is magnified, with potentially harmful impacts on their emotional and mental wellbeing.\u003c/p>\n\u003cp>https://youtu.be/tr_3UXNTmEI\u003c/p>\n\u003cp>When Mozzy was incarcerated, his favorite songs became mantras that gave him fortitude. The lyrics were buoys during his stints in Sacramento County Jail, and in 2014, when he served one year in San Quentin State Prison on gun charges. “When you locked up,” Mozzy says, “you write letters to your family members or your loved ones, and you ask them to print out lyrics to certain songs.”\u003c/p>\n\u003cp>Under lockdown, those with access to a JPay tablet are among the only ones with access to the kind of art that kept Mozzy going.\u003c/p>\n\u003cp>JPay is a private communications service that allows incarcerated people to send emails, have video calls, receive money and access music, books and podcasts. The tablet averages $69.99, and users must pay every time they send an email or download media.\u003c/p>\n\u003cp>It’s costly—a single song can cost $2.50 and an album can cost as much as $45—but it’s all that’s available.\u003c/p>\n\u003cp>Incarcerated people “were the ones who listened to my music in depth—that whole system, like that whole institution. I get so much love, so much good feedback from them,” Mozzy says. “I just wanted to reciprocate.”\u003c/p>\n\u003cp>And he does. Mozzy often shows up for his incarcerated loved ones, among which he counts his favorite uncle GP the Beast, friends Lil Nick and Hot Boy Sean and many more. “This whole interview will be a list of people if I shouted everybody out,” he says.\u003c/p>\n\u003cp>He writes letters, sends photos, loads their Green Dot prepaid cards and posts bail.\u003c/p>\n\u003cp>“I’m the first person they call when they’re locked up,” Mozzy says. He did that before he became the rapper who was featured on the \u003cem>Black Panther\u003c/em> soundtrack and \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">got a shout-out from Kendrick Lamar at the Grammy Awards\u003c/a>. “It’s vice versa, you look out for somebody, and then when it’s your turn to go to jail, they look out for you.” [aside postid='arts_13877868']\u003c/p>\n\u003cp>For Mozzy, \u003cem>Beyond Bulletproof\u003c/em> is a way to pay it forward, too.\u003c/p>\n\u003cp>The album is dedicated to his grandmother, Brenda P. Usher, who passed in 2019. Patterson, a social worker and Black Panther Party member, adopted Mozzy when he was two years old. When he was younger, Mozzy said his grandmother would often urge him to fold substance into his music, and “give the people something that they can carry with them for a lifetime.”\u003c/p>\n\u003cp>Now, thanks to time, experience and learning to work through grief, that Mozzy feels he has made good on his grandmother’s wish. He pulled the curtain back on this process in the lead up to the release of \u003cem>Beyond Bulletproof\u003c/em> with “\u003ca href=\"https://www.youtube.com/watch?v=JbqeSRNd7uM\" target=\"_blank\" rel=\"noopener noreferrer\">Untreated Trauma\u003c/a>,” a video series of therapy sessions.\u003c/p>\n\u003cp>https://youtu.be/ZAVuUtxc5fg\u003c/p>\n\u003cp>Over the course of six episodes (only the first two are live now), Mozzy and his therapist Dr. Millie Rose talk about the recent death of his grandmother, his struggle to gain custody of his eldest daughter, depression and anxiety.\u003c/p>\n\u003cp>The therapy sessions, Mozzy says, were beautiful. But it was music that played the most instrumental part in healing from his grief.\u003c/p>\n\u003cp>He’s not alone. Even before the pandemic hit and isolation was magnified, music was a lifeline for incarcerated people.\u003c/p>\n\u003cp>“When the police want to reward you, they play music for you,” Mozzy says. “When people would go to court, they couldn’t wait because they got to get on a bus and the radio was being played.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This time, his fans inside wouldn’t have to wait to hear the gems he wrote for them on a radio on the way to court. They got them first.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1117,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705020770,
"excerpt": "With interviews with his therapist and a release on JPay, the platform for incarcerated people, 'Beyond Bulletproof' channels a higher purpose.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "With interviews with his therapist and a release on JPay, the platform for incarcerated people, 'Beyond Bulletproof' channels a higher purpose.",
"title": "Mozzy's New Album Processes Trauma, Incarceration by Documenting His Healing | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mozzy's New Album Processes Trauma, Incarceration by Documenting His Healing",
"datePublished": "2020-05-11T15:00:58-07:00",
"dateModified": "2024-01-11T16:52:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing",
"status": "publish",
"templateType": "standard",
"nprByline": "Montse Reyes",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mozzy has carried his community with him throughout his career. So for the release of his new album \u003cem>Beyond Bulletproof\u003c/em>—which dropped May 1 on EMPIRE—the beloved Sacramento rapper opted against streaming giants Spotify and Apple Music to host the record’s debut. Instead, he premiered it on JPay—an electronic communications service for incarcerated people.\u003c/p>\n\u003cp>“I got a lot of people in there, man, a lot of people counting on me,” says Mozzy, whose real name is Timothy Patterson. “A lot of people that shared this dream with me… and I feel like they’re supposed to be right here. We supposed to be sharing this experience.”\u003c/p>\n\u003cp>\u003cem>Beyond Bulletproof\u003c/em> is a “self-help book for the trenches,” Mozzy says. The street raps and unglamourous portrayals of gang life, gun violence and the pain remain, but with a concerted effort to share wisdom earned through self-reflection.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DIQ24uiuHOI'\n title='//www.youtube.com/embed/DIQ24uiuHOI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a lightness to the record, too—the lilting flute on “So Lonely,” the gentle guitar opening on “Bulletproofly” and the muted sample of Mario’s ’90s R&B classic “Let Me Love You” on “Big Homie from the Hood.” The singers Mozzy employs throughout the record—Shordie Shordie, Blxst and Eric Bellinger—soften the edges of Mozzy’s trademark gruff voice.\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>With nods to his incarcerated loved ones and his own time in jail woven throughout the record, Mozzy manages to share his dream with those behind bars. Throughout the album, he recalls not having enough to buy food in jail, a backwards legal system and his grief for loved ones with no release date in sight.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3Ud5r7QHfMF1UhH8a5M1cH\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Recently, the COVID-19 pandemic has made things more challenging for incarcerated people. The nearly 2.3 million people locked up in prisons and jails across the country can’t take the same precautions as those of us outside, including maintaining a six-foot distance and thoroughly cleaning hands and surfaces.\u003c/p>\n\u003cp>To mitigate the spread of the virus, federal facilities and California prisons went on lockdown last month. The measure is meant to protect the safety of incarcerated people and staff, but in action it looks a lot like the way facilities respond to riots. The protocol varies, but lockdown restrictions typically include an end to visitation, confining people to their cells for up to 23 hours a day and limiting access to day rooms, mail collection, phone calls and educational programs.\u003c/p>\n\u003cp>Without the few avenues that keep incarcerated people connected to the outside world, the isolation they feel inside a facility is magnified, with potentially harmful impacts on their emotional and mental wellbeing.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tr_3UXNTmEI'\n title='//www.youtube.com/embed/tr_3UXNTmEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Mozzy was incarcerated, his favorite songs became mantras that gave him fortitude. The lyrics were buoys during his stints in Sacramento County Jail, and in 2014, when he served one year in San Quentin State Prison on gun charges. “When you locked up,” Mozzy says, “you write letters to your family members or your loved ones, and you ask them to print out lyrics to certain songs.”\u003c/p>\n\u003cp>Under lockdown, those with access to a JPay tablet are among the only ones with access to the kind of art that kept Mozzy going.\u003c/p>\n\u003cp>JPay is a private communications service that allows incarcerated people to send emails, have video calls, receive money and access music, books and podcasts. The tablet averages $69.99, and users must pay every time they send an email or download media.\u003c/p>\n\u003cp>It’s costly—a single song can cost $2.50 and an album can cost as much as $45—but it’s all that’s available.\u003c/p>\n\u003cp>Incarcerated people “were the ones who listened to my music in depth—that whole system, like that whole institution. I get so much love, so much good feedback from them,” Mozzy says. “I just wanted to reciprocate.”\u003c/p>\n\u003cp>And he does. Mozzy often shows up for his incarcerated loved ones, among which he counts his favorite uncle GP the Beast, friends Lil Nick and Hot Boy Sean and many more. “This whole interview will be a list of people if I shouted everybody out,” he says.\u003c/p>\n\u003cp>He writes letters, sends photos, loads their Green Dot prepaid cards and posts bail.\u003c/p>\n\u003cp>“I’m the first person they call when they’re locked up,” Mozzy says. He did that before he became the rapper who was featured on the \u003cem>Black Panther\u003c/em> soundtrack and \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">got a shout-out from Kendrick Lamar at the Grammy Awards\u003c/a>. “It’s vice versa, you look out for somebody, and then when it’s your turn to go to jail, they look out for you.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13877868",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Mozzy, \u003cem>Beyond Bulletproof\u003c/em> is a way to pay it forward, too.\u003c/p>\n\u003cp>The album is dedicated to his grandmother, Brenda P. Usher, who passed in 2019. Patterson, a social worker and Black Panther Party member, adopted Mozzy when he was two years old. When he was younger, Mozzy said his grandmother would often urge him to fold substance into his music, and “give the people something that they can carry with them for a lifetime.”\u003c/p>\n\u003cp>Now, thanks to time, experience and learning to work through grief, that Mozzy feels he has made good on his grandmother’s wish. He pulled the curtain back on this process in the lead up to the release of \u003cem>Beyond Bulletproof\u003c/em> with “\u003ca href=\"https://www.youtube.com/watch?v=JbqeSRNd7uM\" target=\"_blank\" rel=\"noopener noreferrer\">Untreated Trauma\u003c/a>,” a video series of therapy sessions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZAVuUtxc5fg'\n title='//www.youtube.com/embed/ZAVuUtxc5fg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the course of six episodes (only the first two are live now), Mozzy and his therapist Dr. Millie Rose talk about the recent death of his grandmother, his struggle to gain custody of his eldest daughter, depression and anxiety.\u003c/p>\n\u003cp>The therapy sessions, Mozzy says, were beautiful. But it was music that played the most instrumental part in healing from his grief.\u003c/p>\n\u003cp>He’s not alone. Even before the pandemic hit and isolation was magnified, music was a lifeline for incarcerated people.\u003c/p>\n\u003cp>“When the police want to reward you, they play music for you,” Mozzy says. “When people would go to court, they couldn’t wait because they got to get on a bus and the radio was being played.”\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>This time, his fans inside wouldn’t have to wait to hear the gems he wrote for them on a radio on the way to court. They got them first.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing",
"authors": [
"byline_arts_13880011"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10126",
"arts_10127",
"arts_10342",
"arts_10278",
"arts_4773",
"arts_3798",
"arts_1985"
],
"featImg": "arts_13880098",
"label": "arts"
},
"arts_13879768": {
"type": "posts",
"id": "arts_13879768",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13879768",
"score": null,
"sort": [
1588860012000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1588860012,
"format": "standard",
"title": "Where is America’s Outpouring of Grief Over COVID-19?",
"headTitle": "Where is America’s Outpouring of Grief Over COVID-19? | KQED",
"content": "\u003cp>[dropcap]A[/dropcap]merica has a long history of coming together to grieve after a national tragedy. It was visible in the days after 9/11 when stars and stripes suddenly filled the windows of shopfronts and homes across America. It was overwhelming after the Sandy Hook mass shooting in 2012, when \u003ca href=\"https://www.thetrace.org/2015/12/sandy-hook-shooting-donations/\" target=\"_blank\" rel=\"noopener noreferrer\">65,000 teddy bears and 500,000 letters\u003c/a> were sent to Newtown, Connecticut. And the grief that Americans shared after the assassination of President Lincoln was so immense, it’s \u003ca href=\"https://marthahodes.com/book-detail.php?recordID=4\" target=\"_blank\" rel=\"noopener noreferrer\">still with us in a variety of forms\u003c/a> more than a century and a half later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" class=\"alignright size-full wp-image-13882786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Yet, a public display of collective grief for the more than 70,000 American lives lost to COVID-19 remains largely absent. We are willing to make \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">noise for healthcare workers\u003c/a>, put \u003ca href=\"https://abc7news.com/teddy-bear-hunts-hunt-we-are-going-on-a-window-bears/6055934/\" target=\"_blank\" rel=\"noopener noreferrer\">teddy bears in windows\u003c/a> for children, and we might even make and distribute face masks. But when it comes to the lives of the thousands we’ve lost, few people are yet ready to look directly into the eye of that particular storm, and deal with all the mourning that will inevitably come with it.\u003c/p>\n\u003cp>What we as a nation usually do after a tragedy is look straight to the victims of it. When there are high profile mass shootings, for example, we spend days learning the names and life stories of those lost in the tragedy. We get to know the dead through news reports and newspaper profiles and testimonies from friends told to journalists. We take time to think of these people; we look at their faces; we weep for their families.\u003c/p>\n\u003cp>But with COVID-19, we’ve all become suddenly much more interested in statistical analysis. Although it’s worth noting that NBC managed to tell \u003ca href=\"https://www.nbcnews.com/news/obituaries/coronavirus-deaths-60-stories-victims-around-country-n1194396\" target=\"_blank\" rel=\"noopener noreferrer\">the stories of 60\u003c/a> people killed by COVID-19, and CNN is gathering \u003ca href=\"https://www.cnn.com/interactive/2020/health/coronavirus-victims-memories/\" target=\"_blank\" rel=\"noopener noreferrer\">obituaries from loved ones\u003c/a> on an ongoing basis, this pandemic has largely been framed in the media by data, not sorrow.\u003c/p>\n\u003cp>There are two likely reasons for this. The first is that the danger remains at large, and it’s more comfortable to prioritize facts over feelings right now. Americans are still worrying about their likelihood of contracting the virus, trying to learn the best practices to stay safe, and worrying about their bank balances after catastrophic job losses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second is an issue of the sheer, unfathomable numbers involved. COVID-19 has now killed \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/28/846701304/pandemic-death-toll-in-u-s-now-exceeds-vietnam-wars-u-s-fatalities\" target=\"_blank\" rel=\"noopener noreferrer\">more Americans than the Vietnam War\u003c/a>—thousands more, in fact—in a tiny fraction of the time. That number is (currently) roughly the equivalent of 24 9/11s. For many people trying to keep their heads above water, their families safe and their friends in check, it’s simply too much loss to contemplate on top of everything else.\u003c/p>\n\u003cp>Under the circumstances, when Americans do allow themselves to feel emotional, it is often directed towards healthcare workers. As the very personification of the crisis, doctors, nurses and first responders represent the bravery and tenacity we look for in all American heroes. They give us reasons to feel grateful—for both the work they do, and the relief we feel to not be the ones doing it. And we turn to them because it puts some kind of barrier between us and the true, gruesome nightmare of the situation.\u003c/p>\n\u003cp>America has done this before. In the aftermath of 9/11, we looked to the firefighters in much the same way. Because it was easier to filter our own shock, horror and sadness through the heroes still on the ground, than it was to ponder the thousands of bodies in the rubble that they were tirelessly searching for. (Let’s just hope our healthcare workers are given more support down the line than\u003ca href=\"https://www.youtube.com/watch?v=_uYpDC3SRpM\" target=\"_blank\" rel=\"noopener noreferrer\"> the firefighters\u003c/a> were.)\u003c/p>\n\u003cp>At some point, the gravity and grief of this strangest of periods will inevitably catch up to us all. Publicly acknowledging it together and gathering in some way—whether that’s in-person when this is all finally over, or virtually, online, sooner than that—is a necessary step on the path to our nation’s recovery. Coming together to feel and acknowledge the loss of so many people isn’t just the right thing to do for the thousands of families who’ve been affected, it’s the right thing to do for a nation in shock and struggling to comprehend the enormity of what’s just happened.\u003c/p>\n\u003cp>Though the inherent dangers of the virus are obviously an impediment to any kind of public gathering, most of us have the means to share an experience remotely. On April 18, Global Citizen demonstrated this with the \u003cem>\u003ca href=\"https://www.globalcitizen.org/en/connect/togetherathome/\" target=\"_blank\" rel=\"noopener noreferrer\">One World: Together at Home\u003c/a>\u003c/em> event, curated by Lady Gaga. Virtual performances from the likes of Taylor Swift, the Rolling Stones, Billie Eilish and Stevie Wonder connected 270 million viewers worldwide and helped raise over $127 million.\u003c/p>\n\u003cp>What’s more, prior national tragedies have proven that we don’t need to physically gather in one location to share a meaningful, healing moment. In 1986, after the nation witnessed the explosion of the Challenger space shuttle live on TV, America grieved together by once again gathering around televisions and giving full attention to the astronauts’ memorial service.\u003c/p>\n\u003cp>The following day—Feb. 1, 1986—the \u003ca href=\"https://www.nytimes.com/1986/02/01/us/anger-confusion-and-fear-in-the-nation-s-grief.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> \u003c/a>wrote about the necessity of sharing grief, especially in times of national crisis. UC San Francisco psychiatrist Dr. Mardi Horowitz was quoted as saying: “The psychological purpose of ritual is not just to honor the dead but to re-establish a common bond and counter the sense of being alone in a hostile universe.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That sense of being alone in an inhospitable landscape is familiar to many of us now. Alienation has become the status quo while we shelter in place away from our communities. And because grief heightens the need to connect with others, it’s no wonder we’ve been avoiding these feelings out of a sense of self-preservation. But the circumstances surrounding the coronavirus pandemic make the need for collective mourning more important than ever. The longer we reduce the agony of families across the nation to mere numbers on graphs, the harder it will be to reunify as a country when this tragedy is all over.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1065,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705020791,
"excerpt": "Historically, America is very good at uniting and grieving national tragedies as one. That has yet to happen for the pandemic. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Historically, America is very good at uniting and grieving national tragedies as one. That has yet to happen for the pandemic. ",
"title": "Where is America’s Outpouring of Grief Over COVID-19? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Where is America’s Outpouring of Grief Over COVID-19?",
"datePublished": "2020-05-07T07:00:12-07:00",
"dateModified": "2024-01-11T16:53:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "where-is-americas-outpouring-of-grief-over-covid-19",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"source": "Commentary",
"path": "/arts/13879768/where-is-americas-outpouring-of-grief-over-covid-19",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>merica has a long history of coming together to grieve after a national tragedy. It was visible in the days after 9/11 when stars and stripes suddenly filled the windows of shopfronts and homes across America. It was overwhelming after the Sandy Hook mass shooting in 2012, when \u003ca href=\"https://www.thetrace.org/2015/12/sandy-hook-shooting-donations/\" target=\"_blank\" rel=\"noopener noreferrer\">65,000 teddy bears and 500,000 letters\u003c/a> were sent to Newtown, Connecticut. And the grief that Americans shared after the assassination of President Lincoln was so immense, it’s \u003ca href=\"https://marthahodes.com/book-detail.php?recordID=4\" target=\"_blank\" rel=\"noopener noreferrer\">still with us in a variety of forms\u003c/a> more than a century and a half later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" class=\"alignright size-full wp-image-13882786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Yet, a public display of collective grief for the more than 70,000 American lives lost to COVID-19 remains largely absent. We are willing to make \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">noise for healthcare workers\u003c/a>, put \u003ca href=\"https://abc7news.com/teddy-bear-hunts-hunt-we-are-going-on-a-window-bears/6055934/\" target=\"_blank\" rel=\"noopener noreferrer\">teddy bears in windows\u003c/a> for children, and we might even make and distribute face masks. But when it comes to the lives of the thousands we’ve lost, few people are yet ready to look directly into the eye of that particular storm, and deal with all the mourning that will inevitably come with it.\u003c/p>\n\u003cp>What we as a nation usually do after a tragedy is look straight to the victims of it. When there are high profile mass shootings, for example, we spend days learning the names and life stories of those lost in the tragedy. We get to know the dead through news reports and newspaper profiles and testimonies from friends told to journalists. We take time to think of these people; we look at their faces; we weep for their families.\u003c/p>\n\u003cp>But with COVID-19, we’ve all become suddenly much more interested in statistical analysis. Although it’s worth noting that NBC managed to tell \u003ca href=\"https://www.nbcnews.com/news/obituaries/coronavirus-deaths-60-stories-victims-around-country-n1194396\" target=\"_blank\" rel=\"noopener noreferrer\">the stories of 60\u003c/a> people killed by COVID-19, and CNN is gathering \u003ca href=\"https://www.cnn.com/interactive/2020/health/coronavirus-victims-memories/\" target=\"_blank\" rel=\"noopener noreferrer\">obituaries from loved ones\u003c/a> on an ongoing basis, this pandemic has largely been framed in the media by data, not sorrow.\u003c/p>\n\u003cp>There are two likely reasons for this. The first is that the danger remains at large, and it’s more comfortable to prioritize facts over feelings right now. Americans are still worrying about their likelihood of contracting the virus, trying to learn the best practices to stay safe, and worrying about their bank balances after catastrophic job losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second is an issue of the sheer, unfathomable numbers involved. COVID-19 has now killed \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/28/846701304/pandemic-death-toll-in-u-s-now-exceeds-vietnam-wars-u-s-fatalities\" target=\"_blank\" rel=\"noopener noreferrer\">more Americans than the Vietnam War\u003c/a>—thousands more, in fact—in a tiny fraction of the time. That number is (currently) roughly the equivalent of 24 9/11s. For many people trying to keep their heads above water, their families safe and their friends in check, it’s simply too much loss to contemplate on top of everything else.\u003c/p>\n\u003cp>Under the circumstances, when Americans do allow themselves to feel emotional, it is often directed towards healthcare workers. As the very personification of the crisis, doctors, nurses and first responders represent the bravery and tenacity we look for in all American heroes. They give us reasons to feel grateful—for both the work they do, and the relief we feel to not be the ones doing it. And we turn to them because it puts some kind of barrier between us and the true, gruesome nightmare of the situation.\u003c/p>\n\u003cp>America has done this before. In the aftermath of 9/11, we looked to the firefighters in much the same way. Because it was easier to filter our own shock, horror and sadness through the heroes still on the ground, than it was to ponder the thousands of bodies in the rubble that they were tirelessly searching for. (Let’s just hope our healthcare workers are given more support down the line than\u003ca href=\"https://www.youtube.com/watch?v=_uYpDC3SRpM\" target=\"_blank\" rel=\"noopener noreferrer\"> the firefighters\u003c/a> were.)\u003c/p>\n\u003cp>At some point, the gravity and grief of this strangest of periods will inevitably catch up to us all. Publicly acknowledging it together and gathering in some way—whether that’s in-person when this is all finally over, or virtually, online, sooner than that—is a necessary step on the path to our nation’s recovery. Coming together to feel and acknowledge the loss of so many people isn’t just the right thing to do for the thousands of families who’ve been affected, it’s the right thing to do for a nation in shock and struggling to comprehend the enormity of what’s just happened.\u003c/p>\n\u003cp>Though the inherent dangers of the virus are obviously an impediment to any kind of public gathering, most of us have the means to share an experience remotely. On April 18, Global Citizen demonstrated this with the \u003cem>\u003ca href=\"https://www.globalcitizen.org/en/connect/togetherathome/\" target=\"_blank\" rel=\"noopener noreferrer\">One World: Together at Home\u003c/a>\u003c/em> event, curated by Lady Gaga. Virtual performances from the likes of Taylor Swift, the Rolling Stones, Billie Eilish and Stevie Wonder connected 270 million viewers worldwide and helped raise over $127 million.\u003c/p>\n\u003cp>What’s more, prior national tragedies have proven that we don’t need to physically gather in one location to share a meaningful, healing moment. In 1986, after the nation witnessed the explosion of the Challenger space shuttle live on TV, America grieved together by once again gathering around televisions and giving full attention to the astronauts’ memorial service.\u003c/p>\n\u003cp>The following day—Feb. 1, 1986—the \u003ca href=\"https://www.nytimes.com/1986/02/01/us/anger-confusion-and-fear-in-the-nation-s-grief.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> \u003c/a>wrote about the necessity of sharing grief, especially in times of national crisis. UC San Francisco psychiatrist Dr. Mardi Horowitz was quoted as saying: “The psychological purpose of ritual is not just to honor the dead but to re-establish a common bond and counter the sense of being alone in a hostile universe.”\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>That sense of being alone in an inhospitable landscape is familiar to many of us now. Alienation has become the status quo while we shelter in place away from our communities. And because grief heightens the need to connect with others, it’s no wonder we’ve been avoiding these feelings out of a sense of self-preservation. But the circumstances surrounding the coronavirus pandemic make the need for collective mourning more important than ever. The longer we reduce the agony of families across the nation to mere numbers on graphs, the harder it will be to reunify as a country when this tragedy is all over.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13879768/where-is-americas-outpouring-of-grief-over-covid-19",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_2303"
],
"tags": [
"arts_10061",
"arts_7164",
"arts_2767",
"arts_10126",
"arts_10127",
"arts_10342",
"arts_2838",
"arts_2797",
"arts_924",
"arts_905"
],
"featImg": "arts_13879812",
"label": "source_arts_13879768"
},
"arts_13879689": {
"type": "posts",
"id": "arts_13879689",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13879689",
"score": null,
"sort": [
1588802452000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1588802452,
"format": "standard",
"title": "For Underserved Communities, Quality Healthcare is Built on Trust",
"headTitle": "For Underserved Communities, Quality Healthcare is Built on Trust | 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\">F\u003c/span>or the first 35 minutes of last week’s panel discussion on COVID-19’s impact on the African American community in the Bay Area and beyond, I didn’t say a word.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given the level of expertise and intelligence in the room, my goal was to simply keep from embarrassing myself. I’d brought notes, and I took more as esteemed guests discussed things like bills soon to hit the floor, the influence of lobbyists on the process, and the government’s overall role in the disproportionate health outcomes for African Americans. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Considering the substandard health outcomes for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Americans, combined with this country’s systemic racism, these results shouldn’t be surprising. But as I listened to the panel, \u003ca href=\"https://www.youtube.com/watch?v=2oB48dstPvM&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">which aired live on the local ABC station\u003c/a>, I realized it’s not just about health policy and statistics. It’s also about the credibility of the messengers, and the trust (or lack thereof) African Americans have for medical workers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it was my time to speak, I stressed the need for reputable individuals to address the populations most impacted by the coronavirus. People like \u003ca href=\"https://www.kqed.org/news/11813091/hand-sanitizer-for-the-people-the-allyship-of-an-actor-and-phd-student\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>, who’s been working with Elina Kostyanovskaya and the Science Policy Group at UCSF to pass out masks and hand sanitizer in prisons and underserved Bay Area communities.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You might know Trulove from his role in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. You might also know that he was once wrongly sentenced to 50 years to life; when his case was overturned, he was \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">awarded millions of dollars by the SFPD\u003c/a>. His story is well-known in the neighborhood—he’s someone people are familiar with and trust. That makes it easier for him to reach people in the midst of a pandemic.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I also mentioned a woman who practices traditional Chinese medicine in Berkeley, and who recently journeyed to Navajo Nation in Arizona to heal an Indigenous Medicine Woman. Although her story isn’t directly about the African American community, it’s related to the idea that healthcare providers can’t simply pull up in underserved communities and expect to have an impact. Trust has to be established first.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13879691\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13879691 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-800x453.png\" alt=\"An April 30 broadcast on ABC 7 featured the author with UCSF Associate Professor Dr. Monica McLemore, Congresswoman Rep. Barbara Lee, President and CEO of the YMCA of San Francisco Chuck Collins, President and Co-founder of Equal Justice Society Eva Patterson, and President and CEO of Greenlining Institute Debra Gore-Mann.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-1020x577.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An April 30 broadcast on ABC 7 featured the author with UCSF Associate Professor Dr. Monica McLemore, Congresswoman Rep. Barbara Lee, President and CEO of the YMCA of San Francisco Chuck Collins, President and Co-founder of Equal Justice Society Eva Patterson, and President and CEO of Greenlining Institute Debra Gore-Mann. \u003ccite>(ABC 7)\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\">T\u003c/span>huy Nguyen was just leaving Arizona as she told me how her past few days of service came about. A Dine’ Medicine Woman had fallen ill and \u003ca href=\"https://mailchi.mp/16760c67ce22/letter-from-thuy-navajo-nation-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">was put in contact with Nguyen \u003c/a> for assistance. Knowing that Navajo Nation had been hit especially hard by this virus (it’s reported more than \u003ca href=\"https://navajotimes.com/coronavirus-updates/covid-19-across-the-navajo-nation/\" target=\"_blank\" rel=\"noopener noreferrer\">2,400 COVID-19 cases as of May 4\u003c/a>, a higher rate per capita than any state aside from\u003ca href=\"https://www.motherjones.com/politics/2020/05/navajo-nation-covid-outbreak-deaths/\" target=\"_blank\" rel=\"noopener noreferrer\"> New York and New Jersey\u003c/a>), Nguyen wasted no time in loading up her car with masks, gloves and herbs. She drove overnight to the reservation and worked for three days, sunup to sundown.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nguyen was familiar with people on reservation, as she had previously done work there. Their initial connection came by way of an invitation from Chief Justice Robert Yazzie after he heard Nguyen give a lecture; both parties noticed the overlap in their practices. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“In modern medicine, you’re fighting everything,” said Nguyen during a phone call. “In Chinese medicine, you’re understanding the balance, harmony and why things are occurring in relationship with one another… In that way, it’s very compatible with Native and Indigenous thinking.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(I thought to myself: \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">sounds on par with the words from the elders in my community\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13879695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_6776-800x600.jpeg\" alt=\"Thuy Nguyen putting on Personal Protective Equipment\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_6776.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_6776-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_6776-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy Nguyen putting on Personal Protective Equipment. \u003ccite>(Thuy Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nguyen told me it’s about “restoring” the concept of healing. “Not ‘changing,’ but ‘restoring.’ Because that was the original way,” said Nguyen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And in order to put that philosophy into practice, trust needs to be established. “I could have all of this medicine and give it to people, but it’ll all go in the trash if people don’t trust me,” Nguyen said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The cross-cultural connection doesn’t work for everybody, so she’s working with “progressive pockets” within the Navajo Nation. She knows all about the notion held by certain people about the healthcare industry “brainwashing people of color” to turn away from traditional practices and “become dependent on this bigger medical system.” That’s true for the Asian community, as well, she said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’d be one thing if modern medicine knew exactly what it was doing, but we’ve seen that this system is flawed, and the people most impacted end up being… us,” said Nguyen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Medicine Woman is getting better now, according to \u003ca href=\"http://www.dineresourcesandinfocenter.org/about-dric/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley Shebala\u003c/a>, an independent journalist based in Navajo Country. “It was a combination of Dine’ medicine and Chinese medicine, but what made a difference is who was doing the treatment,” said Shebala.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked Shebala what Nguyen brings that makes her stand out? Shebala responded, “herself.” There’s a difference between a doctor who cares and one who doesn’t, Shebala said—and that’s true in all forms of medicine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked Shebala if there’s anything “the people” should know about the underlying concept of medicine from the Traditional Chinese or Indigenous perspective. She abruptly asked: what people?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I shot it straight and told her that I was asking as a black man whose community is also under siege. Listening to different oppressed groups’ perspective on how to navigate this pandemic is my genuine interest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From the notes she’d gathered in talking to traditional healers, she advised me on some basics: get rid of salt, take actions that will strengthen my lungs and clear my system of mucus. Most importantly, take the threat of the coronavirus seriously.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This virus is a terrible way to die,” said Shebala. “Not only do you suffer, but you suffer by yourself.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13879692\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_7289-800x600.jpg\" alt=\"Thuy Nguyen in Navajo Country \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy Nguyen in Navajo Country. \u003ccite>(Thuy Nguyen)\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\">I\u003c/span>t’s not that I, or my peers, don’t take the virus seriously—it’s that there’s a serious pile of issues in front of us. Health disparities tied to wealth disparities. Trust issues with governing officials and the medical industry, as a whole. And a lot folks I know, myself included, question the legitimacy of certain news agencies who are supposed to relay this important information to us. And I’m a journalist!\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I see that there are efforts to do something about it by people in office, on different levels. \u003ca href=\"https://thehill.com/homenews/senate/495494-harris-pushes-for-creation-of-task-force-addressing-racial-disparities-in\" target=\"_blank\" rel=\"noopener noreferrer\">Sen. Kamala Harris\u003c/a> is looking to set up a task force to address racial disparities from the impact of COVID-19 on the federal level; something \u003ca href=\"https://www.oaklandca.gov/news/2020/local-leaders-announce-covid-19-racial-disparities-task-force\" target=\"_blank\" rel=\"noopener noreferrer\">mayor Libby Schaaf\u003c/a> has already done here in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I see ongoing debates about the philosophical approach black folks should take when it comes to this virus, and healthcare overall. Last month, \u003ca href=\"https://newsone.com/playlist/van-jones-slammed-black-people-change-lifestyle-choices-amid-coronavirus/\" target=\"_blank\" rel=\"noopener noreferrer\">Van Jones\u003c/a> caught heat for promoting the narrative that personal responsibility is paramount, without fully acknowledging a lack of investment from the system that governs us. Not to mention the lack of trust we have for that system.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the end, looking at racial disparities in health outcomes is a mixture of all of the issues above.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if the government, healthcare providers or anyone else wanted to do something about it, they’d work toward earning black people’s trust. A great place to start would be by helping us when we need it the most. Which isn’t just during a pandemic.\u003c/span>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1352,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705020794,
"excerpt": "How can populations historically left behind trust COVID-19 prevention? Start with the messenger.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "How can populations historically left behind trust COVID-19 prevention? Start with the messenger.",
"title": "For Underserved Communities, Quality Healthcare is Built on Trust | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "For Underserved Communities, Quality Healthcare is Built on Trust",
"datePublished": "2020-05-06T15:00:52-07:00",
"dateModified": "2024-01-11T16:53:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "for-underserved-communities-quality-healthcare-is-built-on-trust",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13879689/for-underserved-communities-quality-healthcare-is-built-on-trust",
"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\">F\u003c/span>or the first 35 minutes of last week’s panel discussion on COVID-19’s impact on the African American community in the Bay Area and beyond, I didn’t say a word.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given the level of expertise and intelligence in the room, my goal was to simply keep from embarrassing myself. I’d brought notes, and I took more as esteemed guests discussed things like bills soon to hit the floor, the influence of lobbyists on the process, and the government’s overall role in the disproportionate health outcomes for African Americans. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Considering the substandard health outcomes for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Americans, combined with this country’s systemic racism, these results shouldn’t be surprising. But as I listened to the panel, \u003ca href=\"https://www.youtube.com/watch?v=2oB48dstPvM&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">which aired live on the local ABC station\u003c/a>, I realized it’s not just about health policy and statistics. It’s also about the credibility of the messengers, and the trust (or lack thereof) African Americans have for medical workers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it was my time to speak, I stressed the need for reputable individuals to address the populations most impacted by the coronavirus. People like \u003ca href=\"https://www.kqed.org/news/11813091/hand-sanitizer-for-the-people-the-allyship-of-an-actor-and-phd-student\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>, who’s been working with Elina Kostyanovskaya and the Science Policy Group at UCSF to pass out masks and hand sanitizer in prisons and underserved Bay Area communities.\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>\u003cspan style=\"font-weight: 400\">You might know Trulove from his role in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Black Man in San Francisco\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. You might also know that he was once wrongly sentenced to 50 years to life; when his case was overturned, he was \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">awarded millions of dollars by the SFPD\u003c/a>. His story is well-known in the neighborhood—he’s someone people are familiar with and trust. That makes it easier for him to reach people in the midst of a pandemic.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I also mentioned a woman who practices traditional Chinese medicine in Berkeley, and who recently journeyed to Navajo Nation in Arizona to heal an Indigenous Medicine Woman. Although her story isn’t directly about the African American community, it’s related to the idea that healthcare providers can’t simply pull up in underserved communities and expect to have an impact. Trust has to be established first.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13879691\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13879691 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-800x453.png\" alt=\"An April 30 broadcast on ABC 7 featured the author with UCSF Associate Professor Dr. Monica McLemore, Congresswoman Rep. Barbara Lee, President and CEO of the YMCA of San Francisco Chuck Collins, President and Co-founder of Equal Justice Society Eva Patterson, and President and CEO of Greenlining Institute Debra Gore-Mann.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM-1020x577.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-03-at-11.34.46-PM.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An April 30 broadcast on ABC 7 featured the author with UCSF Associate Professor Dr. Monica McLemore, Congresswoman Rep. Barbara Lee, President and CEO of the YMCA of San Francisco Chuck Collins, President and Co-founder of Equal Justice Society Eva Patterson, and President and CEO of Greenlining Institute Debra Gore-Mann. \u003ccite>(ABC 7)\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\">T\u003c/span>huy Nguyen was just leaving Arizona as she told me how her past few days of service came about. A Dine’ Medicine Woman had fallen ill and \u003ca href=\"https://mailchi.mp/16760c67ce22/letter-from-thuy-navajo-nation-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">was put in contact with Nguyen \u003c/a> for assistance. Knowing that Navajo Nation had been hit especially hard by this virus (it’s reported more than \u003ca href=\"https://navajotimes.com/coronavirus-updates/covid-19-across-the-navajo-nation/\" target=\"_blank\" rel=\"noopener noreferrer\">2,400 COVID-19 cases as of May 4\u003c/a>, a higher rate per capita than any state aside from\u003ca href=\"https://www.motherjones.com/politics/2020/05/navajo-nation-covid-outbreak-deaths/\" target=\"_blank\" rel=\"noopener noreferrer\"> New York and New Jersey\u003c/a>), Nguyen wasted no time in loading up her car with masks, gloves and herbs. She drove overnight to the reservation and worked for three days, sunup to sundown.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nguyen was familiar with people on reservation, as she had previously done work there. Their initial connection came by way of an invitation from Chief Justice Robert Yazzie after he heard Nguyen give a lecture; both parties noticed the overlap in their practices. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“In modern medicine, you’re fighting everything,” said Nguyen during a phone call. “In Chinese medicine, you’re understanding the balance, harmony and why things are occurring in relationship with one another… In that way, it’s very compatible with Native and Indigenous thinking.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(I thought to myself: \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">sounds on par with the words from the elders in my community\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13879695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_6776-800x600.jpeg\" alt=\"Thuy Nguyen putting on Personal Protective Equipment\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_6776.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_6776-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_6776-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy Nguyen putting on Personal Protective Equipment. \u003ccite>(Thuy Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nguyen told me it’s about “restoring” the concept of healing. “Not ‘changing,’ but ‘restoring.’ Because that was the original way,” said Nguyen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And in order to put that philosophy into practice, trust needs to be established. “I could have all of this medicine and give it to people, but it’ll all go in the trash if people don’t trust me,” Nguyen said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The cross-cultural connection doesn’t work for everybody, so she’s working with “progressive pockets” within the Navajo Nation. She knows all about the notion held by certain people about the healthcare industry “brainwashing people of color” to turn away from traditional practices and “become dependent on this bigger medical system.” That’s true for the Asian community, as well, she said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’d be one thing if modern medicine knew exactly what it was doing, but we’ve seen that this system is flawed, and the people most impacted end up being… us,” said Nguyen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Medicine Woman is getting better now, according to \u003ca href=\"http://www.dineresourcesandinfocenter.org/about-dric/\" target=\"_blank\" rel=\"noopener noreferrer\">Marley Shebala\u003c/a>, an independent journalist based in Navajo Country. “It was a combination of Dine’ medicine and Chinese medicine, but what made a difference is who was doing the treatment,” said Shebala.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked Shebala what Nguyen brings that makes her stand out? Shebala responded, “herself.” There’s a difference between a doctor who cares and one who doesn’t, Shebala said—and that’s true in all forms of medicine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked Shebala if there’s anything “the people” should know about the underlying concept of medicine from the Traditional Chinese or Indigenous perspective. She abruptly asked: what people?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I shot it straight and told her that I was asking as a black man whose community is also under siege. Listening to different oppressed groups’ perspective on how to navigate this pandemic is my genuine interest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From the notes she’d gathered in talking to traditional healers, she advised me on some basics: get rid of salt, take actions that will strengthen my lungs and clear my system of mucus. Most importantly, take the threat of the coronavirus seriously.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This virus is a terrible way to die,” said Shebala. “Not only do you suffer, but you suffer by yourself.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13879692\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/IMG_7289-800x600.jpg\" alt=\"Thuy Nguyen in Navajo Country \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/IMG_7289-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy Nguyen in Navajo Country. \u003ccite>(Thuy Nguyen)\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\">I\u003c/span>t’s not that I, or my peers, don’t take the virus seriously—it’s that there’s a serious pile of issues in front of us. Health disparities tied to wealth disparities. Trust issues with governing officials and the medical industry, as a whole. And a lot folks I know, myself included, question the legitimacy of certain news agencies who are supposed to relay this important information to us. And I’m a journalist!\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I see that there are efforts to do something about it by people in office, on different levels. \u003ca href=\"https://thehill.com/homenews/senate/495494-harris-pushes-for-creation-of-task-force-addressing-racial-disparities-in\" target=\"_blank\" rel=\"noopener noreferrer\">Sen. Kamala Harris\u003c/a> is looking to set up a task force to address racial disparities from the impact of COVID-19 on the federal level; something \u003ca href=\"https://www.oaklandca.gov/news/2020/local-leaders-announce-covid-19-racial-disparities-task-force\" target=\"_blank\" rel=\"noopener noreferrer\">mayor Libby Schaaf\u003c/a> has already done here in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I see ongoing debates about the philosophical approach black folks should take when it comes to this virus, and healthcare overall. Last month, \u003ca href=\"https://newsone.com/playlist/van-jones-slammed-black-people-change-lifestyle-choices-amid-coronavirus/\" target=\"_blank\" rel=\"noopener noreferrer\">Van Jones\u003c/a> caught heat for promoting the narrative that personal responsibility is paramount, without fully acknowledging a lack of investment from the system that governs us. Not to mention the lack of trust we have for that system.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the end, looking at racial disparities in health outcomes is a mixture of all of the issues above.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">And if the government, healthcare providers or anyone else wanted to do something about it, they’d work toward earning black people’s trust. A great place to start would be by helping us when we need it the most. Which isn’t just during a pandemic.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13879689/for-underserved-communities-quality-healthcare-is-built-on-trust",
"authors": [
"11491"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1331",
"arts_10127",
"arts_10278",
"arts_9598",
"arts_10166"
],
"featImg": "arts_13879879",
"label": "arts"
},
"arts_13879415": {
"type": "posts",
"id": "arts_13879415",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13879415",
"score": null,
"sort": [
1588113637000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1588113637,
"format": "standard",
"title": "This is 'Creepy': Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong",
"headTitle": "This is ‘Creepy’: Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong | KQED",
"content": "\u003cp>Lawrence Wright is not interested in saying “I told you so.”\u003c/p>\n\u003cp>At the beginning of his new novel, he writes: “Dear Reader, The events depicted in \u003cem>The End of October \u003c/em>were meant to serve as a cautionary tale. But real life doesn’t always wait for warnings.”\u003c/p>\n\u003cp>Wright’s fictional tale is about a mysterious virus that starts in Asia, sweeps across continents, cripples the health care system, wrecks the economy, and kills people worldwide.\u003c/p>\n\u003cp>“I knew from talking to all these medical experts that something like this was going to happen,” Wright says. “They all knew it. They just didn’t know when.”\u003c/p>\n\u003cp>Wright began writing the novel in 2017 and turned in his final draft in the summer of 2019. He says the timing of publication—in the midst of the coronavirus pandemic—is a coincidence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But the parallels with what’s actually happening in real life, that’s not coincidental,” he says. “I researched it very carefully and I talked to people who \u003cem>knew\u003c/em> what was going to happen. They laid it out for me. … So the fact that it’s unfolding as they suggested it would and as I reflected in the novel is no surprise at all.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On seeing aspects of his fiction become fact\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879419\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png\" alt=\"‘The End of October,’ by Lawrence Wright.\" width=\"287\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM-160x249.png 160w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">‘The End of October,’ by Lawrence Wright.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s creepy. It’s weird. In some ways I’m keeping score for myself: You know, what did I get right and what did I get wrong? On the other hand, I’m pretty sick of the coincidences and I hope it doesn’t turn out as badly as I forecast. But, you know, this was meant to be a kind of warning cry. …\u003c/p>\n\u003cp>I made use of some of our nation’s best minds, most of them work for the government in one way or another. … The only difference between me and people in the administration is that I listened to these experts and, you know, the novel reflects the anxiety that they expressed to me.\u003c/p>\n\u003cp>\u003cstrong>On how he came to write a story about a killer virus\u003c/strong>\u003c/p>\n\u003cp>This actually started a decade ago when Ridley Scott had asked me to write a screenplay. He had read the Cormac McCarthy novel \u003ca href=\"https://www.npr.org/books/titles/137975933/the-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Road\u003c/em>\u003c/a>—this post-apocalyptic [story of a] father and son wandering through the ruins of civilization. But there’s no explanation about what happened. And that was what his question to me was: What happened? What force or event would have been so powerful they would bring down civilization?\u003c/p>\n\u003cp>\u003cstrong>On the research he did for the book\u003c/strong>\u003c/p>\n\u003cp>I was always interested in medicine. When I was a young reporter I lived in Atlanta and I did some articles out of the Centers for Disease Control and Prevention. So I was enchanted by epidemiology and the people that worked in that field. …\u003c/p>\n\u003cp>I decided I had to go all the way—just as I would on a nonfiction book or \u003cem>a New Yorker \u003c/em>story. So I started traveling. … I traveled to [the] Washington, D.C., area talking to government experts and people in public health. Also, I went to Bethesda, where the National Institutes of Health are, and to Fort Detrick, which used to be our bio weapons laboratory, but now specializes in preventing novel diseases. … For me at least, working from reality is a lot more interesting than just trying to conjure up what it would be like.\u003c/p>\n\u003cp>\u003cstrong>On what he didn’t predict in his book\u003c/strong>\u003c/p>\n\u003cp>The thing that I underestimated was the solidarity of ordinary people to isolate themselves—sometimes against their own government’s recommendations and at great personal cost. …\u003c/p>\n\u003cp>And that has … succeeded in many respects in keeping the death toll down, I think. And I didn’t really take that into account in the novel. On the other hand, the government is responding pretty much as I expected—or worse.\u003c/p>\n\u003cp>\u003cstrong>On whether readers won’t want to read about a deadly virus during a pandemic\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13879420\" class=\"wp-caption alignright\" style=\"max-width: 282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png\" alt=\"Lawrence Wright won the Pulitzer Prize in 2007 for his book 'The Looming Tower: Al-Qaeda and the Road to 9/11.' He is a writer for 'The New Yorker.'\" width=\"282\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png 282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM-160x131.png 160w\" sizes=\"(max-width: 282px) 100vw, 282px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Wright won the Pulitzer Prize in 2007 for his book ‘The Looming Tower: Al-Qaeda and the Road to 9/11.’ He is a writer for ‘The New Yorker.’ \u003ccite>(Kenny Braun/Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I worry about people being frightened by what happens in the novel and worrying that that’ll come true in real life. On the other hand, some of my early readers say that they were consoled by it because they understand, you know, the actions of a virus and what it takes to fight it. And also, I think and hope that my admiration for the kind of people that are involved in this field of public health comes through. And, you know, people appreciate the sacrifice, but also the ingenuity of people in that field.\u003c/p>\n\u003cp>\u003cstrong>On what he’ll write his next novel about\u003c/strong>\u003c/p>\n\u003cp>I’ve been getting many suggestions. You know, why don’t you write about the end of climate change or a woman president or something? People believe that I have these powers to put things into play in the real world. All I’m doing is examining the world that we live in and extrapolating where it might go. And so the kind of geopolitical clashes that are depicted in the novel are just taking events and rivalries that we’re experiencing right now and imagining under stress, the stress of a pandemic. … As I said, I hope these things don’t come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Becky Sullivan and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Is+%27Creepy%27%3A+Lawrence+Wright+Wishes+His+Pandemic+Novel+Had+Gotten+It+Wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 993,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705020837,
"excerpt": "'The End of October' is about a mysterious virus that starts in Asia, wrecks the economy and kills people worldwide.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'The End of October' is about a mysterious virus that starts in Asia, wrecks the economy and kills people worldwide.",
"title": "This is 'Creepy': Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This is 'Creepy': Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong",
"datePublished": "2020-04-28T15:40:37-07:00",
"dateModified": "2024-01-11T16:53:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "this-is-creepy-lawrence-wright-wishes-his-pandemic-novel-had-gotten-it-wrong",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=846807025&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 28 Apr 2020 17:48:24 -0400",
"nprLastModifiedDate": "Tue, 28 Apr 2020 17:48:24 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/04/28/846807025/this-is-creepy-lawrence-wright-wishes-his-pandemic-novel-had-gotten-it-wrong?ft=nprml&f=846807025",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/04/20200428_atc_this_is_creepy_lawrence_wright_wishes_his_pandemic_novel_had_gotten_it_wrong.mp3?orgId=1&topicId=1033&aggIds=812054919&d=478&p=2&story=846807025&ft=nprml&f=846807025",
"nprImageAgency": "AFP via Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1847447302-de30d3.m3u?orgId=1&topicId=1033&aggIds=812054919&d=478&p=2&story=846807025&ft=nprml&f=846807025",
"nprStoryId": "846807025",
"nprByline": "Mary Louise Kelly",
"sticky": false,
"nprImageCredit": "Josh Edelson",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 28 Apr 2020 17:48:00 -0400",
"path": "/arts/13879415/this-is-creepy-lawrence-wright-wishes-his-pandemic-novel-had-gotten-it-wrong",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/04/20200428_atc_this_is_creepy_lawrence_wright_wishes_his_pandemic_novel_had_gotten_it_wrong.mp3?orgId=1&topicId=1033&aggIds=812054919&d=478&p=2&story=846807025&ft=nprml&f=846807025",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lawrence Wright is not interested in saying “I told you so.”\u003c/p>\n\u003cp>At the beginning of his new novel, he writes: “Dear Reader, The events depicted in \u003cem>The End of October \u003c/em>were meant to serve as a cautionary tale. But real life doesn’t always wait for warnings.”\u003c/p>\n\u003cp>Wright’s fictional tale is about a mysterious virus that starts in Asia, sweeps across continents, cripples the health care system, wrecks the economy, and kills people worldwide.\u003c/p>\n\u003cp>“I knew from talking to all these medical experts that something like this was going to happen,” Wright says. “They all knew it. They just didn’t know when.”\u003c/p>\n\u003cp>Wright began writing the novel in 2017 and turned in his final draft in the summer of 2019. He says the timing of publication—in the midst of the coronavirus pandemic—is a coincidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But the parallels with what’s actually happening in real life, that’s not coincidental,” he says. “I researched it very carefully and I talked to people who \u003cem>knew\u003c/em> what was going to happen. They laid it out for me. … So the fact that it’s unfolding as they suggested it would and as I reflected in the novel is no surprise at all.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On seeing aspects of his fiction become fact\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879419\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png\" alt=\"‘The End of October,’ by Lawrence Wright.\" width=\"287\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM-160x249.png 160w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">‘The End of October,’ by Lawrence Wright.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s creepy. It’s weird. In some ways I’m keeping score for myself: You know, what did I get right and what did I get wrong? On the other hand, I’m pretty sick of the coincidences and I hope it doesn’t turn out as badly as I forecast. But, you know, this was meant to be a kind of warning cry. …\u003c/p>\n\u003cp>I made use of some of our nation’s best minds, most of them work for the government in one way or another. … The only difference between me and people in the administration is that I listened to these experts and, you know, the novel reflects the anxiety that they expressed to me.\u003c/p>\n\u003cp>\u003cstrong>On how he came to write a story about a killer virus\u003c/strong>\u003c/p>\n\u003cp>This actually started a decade ago when Ridley Scott had asked me to write a screenplay. He had read the Cormac McCarthy novel \u003ca href=\"https://www.npr.org/books/titles/137975933/the-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Road\u003c/em>\u003c/a>—this post-apocalyptic [story of a] father and son wandering through the ruins of civilization. But there’s no explanation about what happened. And that was what his question to me was: What happened? What force or event would have been so powerful they would bring down civilization?\u003c/p>\n\u003cp>\u003cstrong>On the research he did for the book\u003c/strong>\u003c/p>\n\u003cp>I was always interested in medicine. When I was a young reporter I lived in Atlanta and I did some articles out of the Centers for Disease Control and Prevention. So I was enchanted by epidemiology and the people that worked in that field. …\u003c/p>\n\u003cp>I decided I had to go all the way—just as I would on a nonfiction book or \u003cem>a New Yorker \u003c/em>story. So I started traveling. … I traveled to [the] Washington, D.C., area talking to government experts and people in public health. Also, I went to Bethesda, where the National Institutes of Health are, and to Fort Detrick, which used to be our bio weapons laboratory, but now specializes in preventing novel diseases. … For me at least, working from reality is a lot more interesting than just trying to conjure up what it would be like.\u003c/p>\n\u003cp>\u003cstrong>On what he didn’t predict in his book\u003c/strong>\u003c/p>\n\u003cp>The thing that I underestimated was the solidarity of ordinary people to isolate themselves—sometimes against their own government’s recommendations and at great personal cost. …\u003c/p>\n\u003cp>And that has … succeeded in many respects in keeping the death toll down, I think. And I didn’t really take that into account in the novel. On the other hand, the government is responding pretty much as I expected—or worse.\u003c/p>\n\u003cp>\u003cstrong>On whether readers won’t want to read about a deadly virus during a pandemic\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13879420\" class=\"wp-caption alignright\" style=\"max-width: 282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png\" alt=\"Lawrence Wright won the Pulitzer Prize in 2007 for his book 'The Looming Tower: Al-Qaeda and the Road to 9/11.' He is a writer for 'The New Yorker.'\" width=\"282\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png 282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM-160x131.png 160w\" sizes=\"(max-width: 282px) 100vw, 282px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Wright won the Pulitzer Prize in 2007 for his book ‘The Looming Tower: Al-Qaeda and the Road to 9/11.’ He is a writer for ‘The New Yorker.’ \u003ccite>(Kenny Braun/Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I worry about people being frightened by what happens in the novel and worrying that that’ll come true in real life. On the other hand, some of my early readers say that they were consoled by it because they understand, you know, the actions of a virus and what it takes to fight it. And also, I think and hope that my admiration for the kind of people that are involved in this field of public health comes through. And, you know, people appreciate the sacrifice, but also the ingenuity of people in that field.\u003c/p>\n\u003cp>\u003cstrong>On what he’ll write his next novel about\u003c/strong>\u003c/p>\n\u003cp>I’ve been getting many suggestions. You know, why don’t you write about the end of climate change or a woman president or something? People believe that I have these powers to put things into play in the real world. All I’m doing is examining the world that we live in and extrapolating where it might go. And so the kind of geopolitical clashes that are depicted in the novel are just taking events and rivalries that we’re experiencing right now and imagining under stress, the stress of a pandemic. … As I said, I hope these things don’t come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Becky Sullivan and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Is+%27Creepy%27%3A+Lawrence+Wright+Wishes+His+Pandemic+Novel+Had+Gotten+It+Wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13879415/this-is-creepy-lawrence-wright-wishes-his-pandemic-novel-had-gotten-it-wrong",
"authors": [
"byline_arts_13879415"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_10126",
"arts_10127",
"arts_10166"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13879416",
"label": "arts_137"
},
"arts_13878987": {
"type": "posts",
"id": "arts_13878987",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13878987",
"score": null,
"sort": [
1587592801000
]
},
"guestAuthors": [],
"slug": "a-nightly-zoom-party-of-music-laughter-and-generosity-at-inside-lands",
"title": "A Nightly Zoom Party of Music, Laughter and Generosity at Inside Lands",
"publishDate": 1587592801,
"format": "standard",
"headTitle": "A Nightly Zoom Party of Music, Laughter and Generosity at Inside Lands | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Every night, dozens of people separately sheltering in place log on to Zoom for a variety show that brings together the movers and shakers of the Bay Area’s nightlife, restaurant, wellness and cannabis industries for two hours of carefree fun.\u003c/p>\n\u003cp>Some conduct drunk makeup tutorials. Others lead the group in yoga sessions. And still others teach viewers how to roll lumpia and mix craft cocktails. Live performances alternate in 10–20 minute spurts while the chat blings with viewers’ commentary and shout-outs. And when it’s time for DJ sets, the screen lights up with videos of guests cooking dinner, dancing or hula-hooping in their homes.\u003c/p>\n\u003cp>That’s the scene at \u003ca href=\"https://www.instagram.com/insidelands2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Lands\u003c/a>, a grassroots virtual party founded by J Tran, Jenn Lui and Kat Reyes, three friends who met in Oakland’s nightlife and bring together a breadth of expertise from different fields. Tran worked in music festivals and is part of a fashion and cannabis startup, \u003ca href=\"https://sundae.school/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundae School\u003c/a>, which seeks to destigmatize weed in the Asian American community. Lui is the manager of the popular Oakland bar and venue \u003ca href=\"https://www.instagram.com/7thwestoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">7th West\u003c/a>, known for rap DJ nights, patio concerts, Filipino food and colorful murals visible from BART. And Reyes is an ambulatory care nurse for the San Francisco Department of Public Health. [pullquote size='large' align='left' citation='J Tran, Inside Lands organizer']\u003cspan class=\"s1\">“During a global pandemic, the creatives are the historians.”[/pullquote]\u003c/span>\u003c/p>\n\u003cp>Together, they curate programming that resonates across subcultures, and 100% of proceeds go back to the performers. “We realized it became a safe space, and it became more than just music,” says Tran. “It became a program about mental wellness, learning new things, checking up on your friends.”\u003c/p>\n\u003cp>With Mental Health Monday and Wellness Wednesday happening weekly on Inside Lands, self-care is a big focus on top of the entertainment. “Because of the shelter-in-place situation, we’re coming across really serious issues of depression, feeling isolated, feeling like you’re going through this alone,” says Reyes. “And I think that’s why we value Inside Lands so much and why Inside Lands has been such a help for people.” [aside postid='arts_13878556']\u003c/p>\n\u003cp>Indeed, prior to shelter-in-place orders to stop the spread of coronavirus, medical experts already considered loneliness \u003ca href=\"https://www.psychologytoday.com/us/blog/envy/201902/loneliness-new-epidemic-in-the-usa\" target=\"_blank\" rel=\"noopener noreferrer\">an epidemic\u003c/a> that affected 47% of American adults. Because humans have evolved as social creatures, chronic isolation can trigger a stress response that increases blood pressure and is linked to early mortality. So social gatherings really can be a form of medicine.\u003c/p>\n\u003cp>Fortunately, daily Inside Lands events have created a tightly knit community, namely because Zoom software allows for interaction, enabling guests to keep in touch with or make new friends. One performer, for example, recently reached out to Tran, Lui and Reyes for tips on how to send money to a family member who was in trouble in the Philippines, which is currently under a strict lockdown.\u003c/p>\n\u003cp>“The idea of community and us jumping on when we need each other is the coolest thing I’ve seen so far,” Reyes says.\u003c/p>\n\u003cp>“Even if you’re quarantined alone, you have us still,” adds Lui. “And even if we don’t know you, we can get to know you.” [aside postid='arts_13876893']\u003c/p>\n\u003cp>Financially supporting the creative community is another major driving force of the event. The Inside Lands team, which also includes sound engineer Alan Chen and graphic designer Jordan Yee, tallies up each week’s Venmo donations and splits them equally among the week’s performers. That means those performing on a more low-key Tuesday evening make the same amount as those who share their talents more high-traffic days like Friday and Saturday.\u003c/p>\n\u003cp>The pay is typically modest, enough to cover about a week’s groceries, and organizers say they’re inspired by the fact that artists who are still employed at their day jobs often forgo their tips so the unemployed or furloughed can have more. Indeed, recent research from \u003ca href=\"http://filesforprogress.org/memos/the-staggering-economic-impact-coronavirus.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Data for Progress\u003c/a> shows that as many as 52% of people under 45 years old have had their work hours reduced or have been laid off since the start of the pandemic. “A lot of our friends are in the gig economy or restaurant industry so they were hurt first,” says Tran.\u003c/p>\n\u003cp>That spirit of generosity is a guiding principle of the event: some of the performers have plugged nonprofits during their sets, encouraging viewers at home to donate, and proceeds from a recent evening went entirely to the \u003ca href=\"https://www.accfb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda County Food Bank\u003c/a>. [aside postid='arts_13878393']\u003c/p>\n\u003cp>For those who miss going out, Inside Lands serves as a fun diversion. But Tran, Reyes and Lui see their mission as much deeper. They record each virtual gathering, creating a real-time archive of how people are adapting to the world’s drastic changes. Without a coronavirus vaccine in sight, it’s unclear what shape social interactions will take in the months to come. Years from now, Inside Lands will be a chronicle of this transitory time, from the old ways of the world to the new.\u003c/p>\n\u003cp>“During a global pandemic, the creatives are the historians,” Tran says. “And we’re documenting that everyday.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The gathering has become a space to cope with social isolation—and a real-time archive of how culture is changing during the pandemic.",
"status": "publish",
"parent": 0,
"modified": 1726762135,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 907
},
"headData": {
"title": "A Nightly Zoom Party of Music, Laughter and Generosity at Inside Lands | KQED",
"description": "The gathering has become a space to cope with social isolation—and a real-time archive of how culture is changing during the pandemic.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Nightly Zoom Party of Music, Laughter and Generosity at Inside Lands",
"datePublished": "2020-04-22T15:00:01-07:00",
"dateModified": "2024-09-19T09:08:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13878987/a-nightly-zoom-party-of-music-laughter-and-generosity-at-inside-lands",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every night, dozens of people separately sheltering in place log on to Zoom for a variety show that brings together the movers and shakers of the Bay Area’s nightlife, restaurant, wellness and cannabis industries for two hours of carefree fun.\u003c/p>\n\u003cp>Some conduct drunk makeup tutorials. Others lead the group in yoga sessions. And still others teach viewers how to roll lumpia and mix craft cocktails. Live performances alternate in 10–20 minute spurts while the chat blings with viewers’ commentary and shout-outs. And when it’s time for DJ sets, the screen lights up with videos of guests cooking dinner, dancing or hula-hooping in their homes.\u003c/p>\n\u003cp>That’s the scene at \u003ca href=\"https://www.instagram.com/insidelands2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Lands\u003c/a>, a grassroots virtual party founded by J Tran, Jenn Lui and Kat Reyes, three friends who met in Oakland’s nightlife and bring together a breadth of expertise from different fields. Tran worked in music festivals and is part of a fashion and cannabis startup, \u003ca href=\"https://sundae.school/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundae School\u003c/a>, which seeks to destigmatize weed in the Asian American community. Lui is the manager of the popular Oakland bar and venue \u003ca href=\"https://www.instagram.com/7thwestoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">7th West\u003c/a>, known for rap DJ nights, patio concerts, Filipino food and colorful murals visible from BART. And Reyes is an ambulatory care nurse for the San Francisco Department of Public Health. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "\u003cspan class=\"s1\">“During a global pandemic, the creatives are the historians.”",
"name": "pullquote",
"attributes": {
"named": {
"size": "large",
"align": "left",
"citation": "J Tran, Inside Lands organizer",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Together, they curate programming that resonates across subcultures, and 100% of proceeds go back to the performers. “We realized it became a safe space, and it became more than just music,” says Tran. “It became a program about mental wellness, learning new things, checking up on your friends.”\u003c/p>\n\u003cp>With Mental Health Monday and Wellness Wednesday happening weekly on Inside Lands, self-care is a big focus on top of the entertainment. “Because of the shelter-in-place situation, we’re coming across really serious issues of depression, feeling isolated, feeling like you’re going through this alone,” says Reyes. “And I think that’s why we value Inside Lands so much and why Inside Lands has been such a help for people.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13878556",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, prior to shelter-in-place orders to stop the spread of coronavirus, medical experts already considered loneliness \u003ca href=\"https://www.psychologytoday.com/us/blog/envy/201902/loneliness-new-epidemic-in-the-usa\" target=\"_blank\" rel=\"noopener noreferrer\">an epidemic\u003c/a> that affected 47% of American adults. Because humans have evolved as social creatures, chronic isolation can trigger a stress response that increases blood pressure and is linked to early mortality. So social gatherings really can be a form of medicine.\u003c/p>\n\u003cp>Fortunately, daily Inside Lands events have created a tightly knit community, namely because Zoom software allows for interaction, enabling guests to keep in touch with or make new friends. One performer, for example, recently reached out to Tran, Lui and Reyes for tips on how to send money to a family member who was in trouble in the Philippines, which is currently under a strict lockdown.\u003c/p>\n\u003cp>“The idea of community and us jumping on when we need each other is the coolest thing I’ve seen so far,” Reyes says.\u003c/p>\n\u003cp>“Even if you’re quarantined alone, you have us still,” adds Lui. “And even if we don’t know you, we can get to know you.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13876893",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Financially supporting the creative community is another major driving force of the event. The Inside Lands team, which also includes sound engineer Alan Chen and graphic designer Jordan Yee, tallies up each week’s Venmo donations and splits them equally among the week’s performers. That means those performing on a more low-key Tuesday evening make the same amount as those who share their talents more high-traffic days like Friday and Saturday.\u003c/p>\n\u003cp>The pay is typically modest, enough to cover about a week’s groceries, and organizers say they’re inspired by the fact that artists who are still employed at their day jobs often forgo their tips so the unemployed or furloughed can have more. Indeed, recent research from \u003ca href=\"http://filesforprogress.org/memos/the-staggering-economic-impact-coronavirus.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Data for Progress\u003c/a> shows that as many as 52% of people under 45 years old have had their work hours reduced or have been laid off since the start of the pandemic. “A lot of our friends are in the gig economy or restaurant industry so they were hurt first,” says Tran.\u003c/p>\n\u003cp>That spirit of generosity is a guiding principle of the event: some of the performers have plugged nonprofits during their sets, encouraging viewers at home to donate, and proceeds from a recent evening went entirely to the \u003ca href=\"https://www.accfb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda County Food Bank\u003c/a>. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13878393",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who miss going out, Inside Lands serves as a fun diversion. But Tran, Reyes and Lui see their mission as much deeper. They record each virtual gathering, creating a real-time archive of how people are adapting to the world’s drastic changes. Without a coronavirus vaccine in sight, it’s unclear what shape social interactions will take in the months to come. Years from now, Inside Lands will be a chronicle of this transitory time, from the old ways of the world to the new.\u003c/p>\n\u003cp>“During a global pandemic, the creatives are the historians,” Tran says. “And we’re documenting that everyday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13878987/a-nightly-zoom-party-of-music-laughter-and-generosity-at-inside-lands",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_10126",
"arts_10127",
"arts_10278",
"arts_10318",
"arts_4773",
"arts_10785",
"arts_10416",
"arts_10478"
],
"featImg": "arts_13879105",
"label": "arts"
},
"arts_13878907": {
"type": "posts",
"id": "arts_13878907",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13878907",
"score": null,
"sort": [
1587582055000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1587582055,
"format": "standard",
"title": "This Year's High School Seniors Are a Class of Their Own",
"headTitle": "This Year’s High School Seniors Are a Class of Their Own | 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\">T\u003c/span>here’s this photo on my wall where I’m holding my niece. She’s in a white dress, precious. She’s three, my daughter’s current age. At the time of the picture, I was my niece’s current age: 17.\u003c/p>\n\u003cp>I’m in a cap and gown, celebrating my high school graduation.\u003c/p>\n\u003cp>My niece, Talyah, will never have a photo like that, and no ceremonial experience. Neither will a solid portion of the estimated \u003ca href=\"https://nces.ed.gov/fastfacts/display.asp?id=372\">3.7 million\u003c/a> other graduating high school seniors in America and millions more around the world. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For my generation of high schoolers, there were a few significant events that tied us together. Most notably, here in America, the terrorist attacks of Sept. 11. Many of us remember exactly where we were when they happened. They played a significant part in shaping the society we stepped into as adults as well as the world we stand in today.\u003c/p>\n\u003cp>One can only imagine how this war on germs, like the War on Terror, will shape the future for all of us, especially the younger folks who walked out of their classrooms and into adulthood months earlier than expected.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One thing is for sure: years from now, my niece will meet someone her age at a bar or cafe, and they’ll have that shared moment of, \u003cem>Damn, so you didn’t have a graduation either?\u003c/em>\u003c/p>\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\">A\u003c/span>ll around Oakland, there are young folks who were looking forward to that final celebration, an acknowledgement that they successfully completed their K-12 educations. Students from public schools, continuation schools, arts magnet schools and private schools are all dealing with the grief and confusion that come with experiencing something like this. \u003ca href=\"https://www.kqed.org/news/senioryear\" target=\"_blank\" rel=\"noopener noreferrer\">KQED\u003c/a> is asking seniors from around the Bay Area to submit videos and share their stories, and yesterday our show \u003ca href=\"https://www.kqed.org/forum/2010101877094/california-12th-graders-reflect-on-their-interrupted-senior-year\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forum\u003c/em>\u003c/a> featured tales from a few students. To contribute to the effort, I got on the phone and called a few folks from Oakland.\u003c/p>\n\u003cp>Jayla D. is a standout player on the Bishop O’Dowd High School softball team. Her junior year stats show that she’s just outside of the top 50 ballers in California, and above the national average in every aspect of the game. But she won’t have a senior year stat line.\u003c/p>\n\u003cp>A career 3.5 GPA student, she’s looking to study kinesiology and get into sports medicine at San Diego State University in the fall. She hopes to walk onto the softball team. Her future is bright, but Jayla D. still says, “I can’t believe this ended like this. I just don’t know how to feel. It’s just hard to see people who’ve worked so hard, and had everything taken away from them—and there’s nothing that can be done about it.”\u003c/p>\n\u003cp>On the other side of town, is another Jayla—Jayla H. A talented drummer (part of the band \u003ca href=\"https://m.soundcloud.com/green-music/sets/the-black-tape\" target=\"_blank\" rel=\"noopener noreferrer\">Black Excellence\u003c/a>) who attended Oakland School for the Arts for middle school and high school.\u003c/p>\n\u003cfigure id=\"attachment_13879034\" class=\"wp-caption alignright\" style=\"max-width: 332px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13879034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Jayla-H.-800x789.png\" alt=\"Jayla H. on the drums\" width=\"332\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-800x789.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-768x757.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H..png 1000w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003cfigcaption class=\"wp-caption-text\">Jayla H. on the drums. \u003ccite>(Jayla H.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s taken the blur of the last few weeks relatively well, spending time reading and \u003ca href=\"https://www.instagram.com/p/B-JCEkdBDDh/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">making music. \u003c/a>And even taking some time to step back from the rat race and learn about herself.\u003c/p>\n\u003cp>“In school, we’re always on the clock,” says Jayla H., referencing the rush from one period to the next. “Now that we’ve got this break, I can focus on doing both [academics and arts] on my own time and in my own space,” she says. “That’s been really helpful.”\u003c/p>\n\u003cp>But when it comes to forgoing ceremonies, Jayla H., who plans on attending the San Francisco Conservatory of Music in the fall, says, “I wanted to have my family and community see what I’ve been working towards. And now, that’s not happening anymore—it’s been heartbreaking.”\u003c/p>\n\u003cp>Another aspiring artist from Oakland is Fremont High School’s Jacob Hicks. This 18-year-old student has been drawing all his life, and now he’s looking to pursue a career in animation graphics.\u003c/p>\n\u003cp>But right now, he’s just getting a handle on this concept of “distance learning.” Hicks says, “People who learn in-person are struggling. … Emailing a teacher and waiting for a response doesn’t always work.”\u003c/p>\n\u003cfigure id=\"attachment_13879070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg\" alt=\"Jacob Hicks, future animator\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Hicks, future animator. \u003ccite>(Jacob Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hicks, who still plans on attending Berkeley City College in the fall, says he’s learning to navigate all of these changes. “We’re on the verge of graduating and living our lives. … I had everything planned out.” And now just about everything has changed.\u003c/p>\n\u003cp>About four miles up the hill from Fremont High, at the Head-Royce School, 17-year-old Caroline has been talking to her father about everything that’s transpiring. He’s a doctor, and she’s looking to become a pediatrician.\u003c/p>\n\u003cp>She’s planning on attending Case Western in Cleveland, Ohio next fall, but she laments what she’s missing out on this spring.\u003c/p>\n\u003cp>Caroline was one of the leaders of the dance program at her school. They had been working on the Fine Arts Dance Ensemble’s big show since September. “We sacrificed \u003cem>so many\u003c/em> lunches throughout the school year,” Caroline tells me. The show would have happened last week. [aside postid='arts_13876171']\u003c/p>\n\u003cp>Tayland, a senior from Castlemont High, was getting ready to work a shift at KFC when I called him. The 17-year-old is planning on attending Sacramento State University in the fall. He wants to play football and study public health—inspired by a former teacher, experiences in health classes and “issues in the world that need to be fixed.”\u003c/p>\n\u003cp>(Great time to jump into solving problems in the public health field, eh?)\u003c/p>\n\u003cp>On the topic of having a shortened senior year, Tayland told me that not having the opportunity to show your family the person you’re becoming is the worst thing about it. “Especially when you have people who’ve got out of institutions. Or the people you’ve been doing it for. You know, the faces you want to see and show them what you’ve done,” says Tayland. “It’s not a good feeling.”\u003c/p>\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\">A\u003c/span>s for my niece, Talyah? She told me it hurts to cancel plans, but maybe it’s something she has to go through for something greater to come along.\u003c/p>\n\u003cp>She’s more bummed about prom than graduation. But over all, she’s not feeling set back. “I’ve always felt like I didn’t need high school. Next year when college starts, I’ll be fine,” says Talyah, a senior at Street Academy who plans on getting into the Peralta College system and focusing on interior design.\u003c/p>\n\u003cfigure id=\"attachment_13879072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png\" alt=\"Talyah Cole, future interior decorator\" width=\"800\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-768x777.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM.png 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talyah Cole, future interior decorator. \u003ccite>(Talyah Cole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to be being connected to the larger class of 2020, Talyah says, “Its kind of embarrassing, just to know that we’re the only class that didn’t finish—that can’t finish. It’s not like we can go back—nobody wants to go back to high school.”\u003c/p>\n\u003cp>I asked her about the photo, the one where I’m holding her as a toddler. “I thought about that, and you know, if anything, when May 29 comes around, I’ll buy my own cap and gown and take a selfie.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Seems like a lot of students are taking a bad situation and making the most of it. This final lesson of their high school careers is one that’s going to be useful in life, over and over again.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1351,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1705020862,
"excerpt": "Oakland students reflect on the grief, confusion and hope of a senior spring semester turned upside down.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Oakland students reflect on the grief, confusion and hope of a senior spring semester turned upside down.",
"title": "This Year's High School Seniors Are a Class of Their Own | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This Year's High School Seniors Are a Class of Their Own",
"datePublished": "2020-04-22T12:00:55-07:00",
"dateModified": "2024-01-11T16:54:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "this-years-high-school-seniors-are-a-class-of-their-own",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13878907/this-years-high-school-seniors-are-a-class-of-their-own",
"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\">T\u003c/span>here’s this photo on my wall where I’m holding my niece. She’s in a white dress, precious. She’s three, my daughter’s current age. At the time of the picture, I was my niece’s current age: 17.\u003c/p>\n\u003cp>I’m in a cap and gown, celebrating my high school graduation.\u003c/p>\n\u003cp>My niece, Talyah, will never have a photo like that, and no ceremonial experience. Neither will a solid portion of the estimated \u003ca href=\"https://nces.ed.gov/fastfacts/display.asp?id=372\">3.7 million\u003c/a> other graduating high school seniors in America and millions more around the world. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For my generation of high schoolers, there were a few significant events that tied us together. Most notably, here in America, the terrorist attacks of Sept. 11. Many of us remember exactly where we were when they happened. They played a significant part in shaping the society we stepped into as adults as well as the world we stand in today.\u003c/p>\n\u003cp>One can only imagine how this war on germs, like the War on Terror, will shape the future for all of us, especially the younger folks who walked out of their classrooms and into adulthood months earlier than expected.\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>One thing is for sure: years from now, my niece will meet someone her age at a bar or cafe, and they’ll have that shared moment of, \u003cem>Damn, so you didn’t have a graduation either?\u003c/em>\u003c/p>\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\">A\u003c/span>ll around Oakland, there are young folks who were looking forward to that final celebration, an acknowledgement that they successfully completed their K-12 educations. Students from public schools, continuation schools, arts magnet schools and private schools are all dealing with the grief and confusion that come with experiencing something like this. \u003ca href=\"https://www.kqed.org/news/senioryear\" target=\"_blank\" rel=\"noopener noreferrer\">KQED\u003c/a> is asking seniors from around the Bay Area to submit videos and share their stories, and yesterday our show \u003ca href=\"https://www.kqed.org/forum/2010101877094/california-12th-graders-reflect-on-their-interrupted-senior-year\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forum\u003c/em>\u003c/a> featured tales from a few students. To contribute to the effort, I got on the phone and called a few folks from Oakland.\u003c/p>\n\u003cp>Jayla D. is a standout player on the Bishop O’Dowd High School softball team. Her junior year stats show that she’s just outside of the top 50 ballers in California, and above the national average in every aspect of the game. But she won’t have a senior year stat line.\u003c/p>\n\u003cp>A career 3.5 GPA student, she’s looking to study kinesiology and get into sports medicine at San Diego State University in the fall. She hopes to walk onto the softball team. Her future is bright, but Jayla D. still says, “I can’t believe this ended like this. I just don’t know how to feel. It’s just hard to see people who’ve worked so hard, and had everything taken away from them—and there’s nothing that can be done about it.”\u003c/p>\n\u003cp>On the other side of town, is another Jayla—Jayla H. A talented drummer (part of the band \u003ca href=\"https://m.soundcloud.com/green-music/sets/the-black-tape\" target=\"_blank\" rel=\"noopener noreferrer\">Black Excellence\u003c/a>) who attended Oakland School for the Arts for middle school and high school.\u003c/p>\n\u003cfigure id=\"attachment_13879034\" class=\"wp-caption alignright\" style=\"max-width: 332px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13879034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Jayla-H.-800x789.png\" alt=\"Jayla H. on the drums\" width=\"332\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-800x789.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-768x757.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H..png 1000w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003cfigcaption class=\"wp-caption-text\">Jayla H. on the drums. \u003ccite>(Jayla H.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s taken the blur of the last few weeks relatively well, spending time reading and \u003ca href=\"https://www.instagram.com/p/B-JCEkdBDDh/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">making music. \u003c/a>And even taking some time to step back from the rat race and learn about herself.\u003c/p>\n\u003cp>“In school, we’re always on the clock,” says Jayla H., referencing the rush from one period to the next. “Now that we’ve got this break, I can focus on doing both [academics and arts] on my own time and in my own space,” she says. “That’s been really helpful.”\u003c/p>\n\u003cp>But when it comes to forgoing ceremonies, Jayla H., who plans on attending the San Francisco Conservatory of Music in the fall, says, “I wanted to have my family and community see what I’ve been working towards. And now, that’s not happening anymore—it’s been heartbreaking.”\u003c/p>\n\u003cp>Another aspiring artist from Oakland is Fremont High School’s Jacob Hicks. This 18-year-old student has been drawing all his life, and now he’s looking to pursue a career in animation graphics.\u003c/p>\n\u003cp>But right now, he’s just getting a handle on this concept of “distance learning.” Hicks says, “People who learn in-person are struggling. … Emailing a teacher and waiting for a response doesn’t always work.”\u003c/p>\n\u003cfigure id=\"attachment_13879070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg\" alt=\"Jacob Hicks, future animator\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Hicks, future animator. \u003ccite>(Jacob Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hicks, who still plans on attending Berkeley City College in the fall, says he’s learning to navigate all of these changes. “We’re on the verge of graduating and living our lives. … I had everything planned out.” And now just about everything has changed.\u003c/p>\n\u003cp>About four miles up the hill from Fremont High, at the Head-Royce School, 17-year-old Caroline has been talking to her father about everything that’s transpiring. He’s a doctor, and she’s looking to become a pediatrician.\u003c/p>\n\u003cp>She’s planning on attending Case Western in Cleveland, Ohio next fall, but she laments what she’s missing out on this spring.\u003c/p>\n\u003cp>Caroline was one of the leaders of the dance program at her school. They had been working on the Fine Arts Dance Ensemble’s big show since September. “We sacrificed \u003cem>so many\u003c/em> lunches throughout the school year,” Caroline tells me. The show would have happened last week. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13876171",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tayland, a senior from Castlemont High, was getting ready to work a shift at KFC when I called him. The 17-year-old is planning on attending Sacramento State University in the fall. He wants to play football and study public health—inspired by a former teacher, experiences in health classes and “issues in the world that need to be fixed.”\u003c/p>\n\u003cp>(Great time to jump into solving problems in the public health field, eh?)\u003c/p>\n\u003cp>On the topic of having a shortened senior year, Tayland told me that not having the opportunity to show your family the person you’re becoming is the worst thing about it. “Especially when you have people who’ve got out of institutions. Or the people you’ve been doing it for. You know, the faces you want to see and show them what you’ve done,” says Tayland. “It’s not a good feeling.”\u003c/p>\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\">A\u003c/span>s for my niece, Talyah? She told me it hurts to cancel plans, but maybe it’s something she has to go through for something greater to come along.\u003c/p>\n\u003cp>She’s more bummed about prom than graduation. But over all, she’s not feeling set back. “I’ve always felt like I didn’t need high school. Next year when college starts, I’ll be fine,” says Talyah, a senior at Street Academy who plans on getting into the Peralta College system and focusing on interior design.\u003c/p>\n\u003cfigure id=\"attachment_13879072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png\" alt=\"Talyah Cole, future interior decorator\" width=\"800\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-768x777.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM.png 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talyah Cole, future interior decorator. \u003ccite>(Talyah Cole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to be being connected to the larger class of 2020, Talyah says, “Its kind of embarrassing, just to know that we’re the only class that didn’t finish—that can’t finish. It’s not like we can go back—nobody wants to go back to high school.”\u003c/p>\n\u003cp>I asked her about the photo, the one where I’m holding her as a toddler. “I thought about that, and you know, if anything, when May 29 comes around, I’ll buy my own cap and gown and take a selfie.”\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>Seems like a lot of students are taking a bad situation and making the most of it. This final lesson of their high school careers is one that’s going to be useful in life, over and over again.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13878907/this-years-high-school-seniors-are-a-class-of-their-own",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_2303"
],
"tags": [
"arts_2767",
"arts_10126",
"arts_10127",
"arts_10342",
"arts_4725",
"arts_10278",
"arts_1143",
"arts_7292"
],
"featImg": "arts_13879015",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"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=covid-19": {
"isFetching": false,
"latestQuery": {
"from": 72,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 105,
"relation": "eq"
},
"items": [
"arts_13880884",
"arts_13880741",
"arts_13880574",
"arts_13880441",
"arts_13879872",
"arts_13879939",
"arts_13880011",
"arts_13879768",
"arts_13879689",
"arts_13879415",
"arts_13878987",
"arts_13878907"
],
"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_covid-19": {
"isLoading": true
},
"arts_10127": {
"type": "terms",
"id": "arts_10127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10127",
"found": true
},
"relationships": {},
"featImg": null,
"name": "covid-19",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "covid-19 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10139,
"slug": "covid-19",
"isLoading": false,
"link": "/arts/tag/covid-19"
},
"source_arts_13879768": {
"type": "terms",
"id": "source_arts_13879768",
"meta": {
"override": true
},
"name": "Commentary",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_10126": {
"type": "terms",
"id": "arts_10126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coronavirus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coronavirus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10138,
"slug": "coronavirus",
"isLoading": false,
"link": "/arts/tag/coronavirus"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_10797": {
"type": "terms",
"id": "arts_10797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Live Updates",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Live Updates Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10809,
"slug": "live-updates",
"isLoading": false,
"link": "/arts/category/live-updates"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_11080": {
"type": "terms",
"id": "arts_11080",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11080",
"found": true
},
"relationships": {},
"featImg": null,
"name": "independent venues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "independent venues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11092,
"slug": "independent-venues",
"isLoading": false,
"link": "/arts/tag/independent-venues"
},
"arts_10651": {
"type": "terms",
"id": "arts_10651",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10651",
"found": true
},
"relationships": {},
"featImg": null,
"name": "liveupdates",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "liveupdates Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10663,
"slug": "liveupdates",
"isLoading": false,
"link": "/arts/tag/liveupdates"
},
"arts_6387": {
"type": "terms",
"id": "arts_6387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music venues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music venues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6399,
"slug": "music-venues",
"isLoading": false,
"link": "/arts/tag/music-venues"
},
"arts_11007": {
"type": "terms",
"id": "arts_11007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "AAPI",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "AAPI Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11019,
"slug": "aapi",
"isLoading": false,
"link": "/arts/tag/aapi"
},
"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_5375": {
"type": "terms",
"id": "arts_5375",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5375",
"found": true
},
"relationships": {},
"featImg": null,
"name": "protest art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "protest art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5387,
"slug": "protest-art",
"isLoading": false,
"link": "/arts/tag/protest-art"
},
"arts_3652": {
"type": "terms",
"id": "arts_3652",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3652",
"found": true
},
"relationships": {},
"featImg": null,
"name": "racism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "racism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3664,
"slug": "racism",
"isLoading": false,
"link": "/arts/tag/racism"
},
"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_10416": {
"type": "terms",
"id": "arts_10416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "shelter in place",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "shelter in place Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10428,
"slug": "shelter-in-place",
"isLoading": false,
"link": "/arts/tag/shelter-in-place"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_9788": {
"type": "terms",
"id": "arts_9788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9788",
"found": true
},
"relationships": {},
"featImg": null,
"name": "recording studios",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "recording studios Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9800,
"slug": "recording-studios",
"isLoading": false,
"link": "/arts/tag/recording-studios"
},
"arts_4773": {
"type": "terms",
"id": "arts_4773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mental health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mental health Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4785,
"slug": "mental-health",
"isLoading": false,
"link": "/arts/tag/mental-health"
},
"arts_3798": {
"type": "terms",
"id": "arts_3798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3798",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mozzy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mozzy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3810,
"slug": "mozzy",
"isLoading": false,
"link": "/arts/tag/mozzy"
},
"arts_1985": {
"type": "terms",
"id": "arts_1985",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1985",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Quentin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Quentin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1997,
"slug": "san-quentin",
"isLoading": false,
"link": "/arts/tag/san-quentin"
},
"arts_10061": {
"type": "terms",
"id": "arts_10061",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10061",
"found": true
},
"relationships": {},
"featImg": null,
"name": "9-11",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "9-11 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10073,
"slug": "9-11",
"isLoading": false,
"link": "/arts/tag/9-11"
},
"arts_7164": {
"type": "terms",
"id": "arts_7164",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "billie eilish",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "billie eilish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7176,
"slug": "billie-eilish",
"isLoading": false,
"link": "/arts/tag/billie-eilish"
},
"arts_2838": {
"type": "terms",
"id": "arts_2838",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2838",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grief",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grief Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2850,
"slug": "grief",
"isLoading": false,
"link": "/arts/tag/grief"
},
"arts_2797": {
"type": "terms",
"id": "arts_2797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lady Gaga",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lady Gaga Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2809,
"slug": "lady-gaga",
"isLoading": false,
"link": "/arts/tag/lady-gaga"
},
"arts_924": {
"type": "terms",
"id": "arts_924",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "924",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R&B",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R&B Archives | KQED Arts",
"ogDescription": null
},
"ttid": 942,
"slug": "rb",
"isLoading": false,
"link": "/arts/tag/rb"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_1331": {
"type": "terms",
"id": "arts_1331",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1331",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1343,
"slug": "bay-area",
"isLoading": false,
"link": "/arts/tag/bay-area"
},
"arts_9598": {
"type": "terms",
"id": "arts_9598",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9598",
"found": true
},
"relationships": {},
"featImg": null,
"name": "health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "health Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9610,
"slug": "health",
"isLoading": false,
"link": "/arts/tag/health"
},
"arts_10166": {
"type": "terms",
"id": "arts_10166",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10166",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pandemic",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pandemic Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10178,
"slug": "pandemic",
"isLoading": false,
"link": "/arts/tag/pandemic"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_10318": {
"type": "terms",
"id": "arts_10318",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10318",
"found": true
},
"relationships": {},
"featImg": null,
"name": "livestreaming",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "livestreaming Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10330,
"slug": "livestreaming",
"isLoading": false,
"link": "/arts/tag/livestreaming"
},
"arts_10785": {
"type": "terms",
"id": "arts_10785",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10785",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mutual aid",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mutual aid Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10797,
"slug": "mutual-aid",
"isLoading": false,
"link": "/arts/tag/mutual-aid"
},
"arts_10478": {
"type": "terms",
"id": "arts_10478",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10478",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zoom",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zoom Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10490,
"slug": "zoom",
"isLoading": false,
"link": "/arts/tag/zoom"
},
"arts_4725": {
"type": "terms",
"id": "arts_4725",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4725",
"found": true
},
"relationships": {},
"featImg": null,
"name": "education",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "education Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4737,
"slug": "education",
"isLoading": false,
"link": "/arts/tag/education"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_7292": {
"type": "terms",
"id": "arts_7292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "OUSD",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "OUSD Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7304,
"slug": "ousd",
"isLoading": false,
"link": "/arts/tag/ousd"
}
},
"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
}
}
