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_13954798": {
"type": "attachments",
"id": "arts_13954798",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954798",
"found": true
},
"parent": 13954764,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Scriabin-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1711493233,
"modified": 1711493272,
"caption": "Former San Francisco Symphony Music Director Esa-Pekka Salonen will return for a guest conducting appearance during the orchestra’s 2026–27 season.",
"description": null,
"title": "Salonen.Scriabin",
"credit": "Brandon Patoc",
"status": "inherit",
"altTag": "A man conducts an orchestra aside a pianist at a grand piano, on stage, bathed in purple light",
"isLoading": false,
"fetchFailed": false
},
"arts_13970486": {
"type": "attachments",
"id": "arts_13970486",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13970486",
"found": true
},
"title": "2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020",
"publishDate": 1737143333,
"status": "inherit",
"parent": 13970454,
"modified": 1737143613,
"caption": "David Robertson conducts the San Francisco Symphony with Víkingur Ólafsson at the piano during the world premiere of John Adams' piano concerto 'After the Fall' at Davies Symphony Hall in San Francisco on Jan. 16, 2025.",
"credit": "Brandon Patoc/San Francisco Symphony",
"altTag": "A man in a black shirt gesturing to an orchestra next to a piano and violins, with a seated audience in the background",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0020.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13967933": {
"type": "attachments",
"id": "arts_13967933",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13967933",
"found": true
},
"title": "GrammyNoms2024.MAIN.Rev",
"publishDate": 1731098850,
"status": "inherit",
"parent": 13967900,
"modified": 1731098990,
"caption": "This year's Bay Area Grammy nominees include (clockwise from top left) Sheila E., Ambrose Akinmusire, Green Day, Taj Mahal, John Adams and Kehlani. ",
"credit": "Rob Shanahan; Peter Van Breukelen/Redferns/Getty Images; Greg Schneider; Jay Blakesberg; Vern Evans; Tim Mosenfelder/WireImage",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_.jpg",
"width": 1600,
"height": 900
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13954060": {
"type": "attachments",
"id": "arts_13954060",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954060",
"found": true
},
"parent": 13954039,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz.jpg",
"width": 2500,
"height": 1563
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-2048x1280.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1280
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-1536x960.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 960
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/JoeHisaishi.OmarCruz-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
}
},
"publishDate": 1710374240,
"modified": 1710374848,
"caption": "Joe Hisaishi, who has composed music for Studio Ghibli films for four decades, conducts the San Francisco Symphony in a program of his famous film scores on Sept. 5–8 at Davies Symphony Hall.",
"description": null,
"title": "JoeHisaishi.OmarCruz",
"credit": "Omar Cruz",
"status": "inherit",
"altTag": "A Japanese man sits at a piano with an abstract pattern on the wall in the background",
"isLoading": false,
"fetchFailed": false
},
"arts_13953074": {
"type": "attachments",
"id": "arts_13953074",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13953074",
"found": true
},
"parent": 13953059,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Handmaids.Thumb_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1709061536,
"modified": 1709061695,
"caption": null,
"description": null,
"title": "Handmaids.Thumb",
"credit": "Camilla Winther/Royal Danish Opera",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13919277": {
"type": "attachments",
"id": "arts_13919277",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13919277",
"found": true
},
"parent": 13919101,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/AntonyCleopatra.MAIN_-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1663607032,
"modified": 1663607097,
"caption": "Amina Edris and Gerald Finley in the title roles of John Adams' 'Antony and Cleopatra.'",
"description": null,
"title": "AntonyCleopatra.MAIN",
"credit": "Cory Weaver/San Francisco Opera",
"status": "inherit",
"altTag": "A woman and a man, both in armor, huddle close to each other, looking out toward the camera",
"isLoading": false,
"fetchFailed": false
},
"arts_13906441": {
"type": "attachments",
"id": "arts_13906441",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906441",
"found": true
},
"parent": 13906436,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-scaled.jpg",
"width": 2560,
"height": 1707
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1637705870,
"modified": 1637705999,
"caption": "H.E.R. performs live at the Apollo Theater in Harlem, Nov. 2021.",
"description": null,
"title": "H.E.R. performs live at the Apollo Theater in Harlem, Nov. 2021.",
"credit": "Dimitrios Kambouris/Getty Images for SiriusXM",
"status": "inherit",
"altTag": "A Black woman wearing an oversized plaid shirt and sunglasses passionately plays an electric guitar on stage.",
"isLoading": false,
"fetchFailed": false
},
"arts_13882830": {
"type": "attachments",
"id": "arts_13882830",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13882830",
"found": true
},
"parent": 13882779,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-160x99.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 99
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents.jpg",
"width": 2364,
"height": 1463
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-2048x1267.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1267
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-1020x631.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 631
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-1536x951.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 951
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-1920x1188.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1188
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-800x495.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 495
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/dead-presidents-768x475.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 475
}
},
"publishDate": 1593676697,
"modified": 1593721677,
"caption": "(L-R): John Adams, Thomas Jefferson and James Monroe, who all died on Independence Day.",
"description": "(L-R): John Adams, Thomas Jefferson and James Monroe, who all died on Independence Day.",
"title": "(L-R): John Adams, Thomas Jefferson and James Monroe, who all died on Independence Day.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13876068": {
"type": "attachments",
"id": "arts_13876068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13876068",
"found": true
},
"parent": 13876066,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut-160x160.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 160
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut.jpg",
"width": 1920,
"height": 1920
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut-1020x1020.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 1020
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut-1920x1920.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1920
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut-800x800.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 800
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41902_15-qut-768x768.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 768
}
},
"publishDate": 1583465940,
"modified": 1583465970,
"caption": "This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.",
"description": "This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.",
"title": "RS41902_15-qut",
"credit": "Courtesy of the Society of California Pioneers",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13823883": {
"type": "attachments",
"id": "arts_13823883",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823883",
"found": true
},
"parent": 13823868,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/1200x675_web-e1518038241261-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1518038067,
"modified": 1518038214,
"caption": "Dances by George Balanchine, Justin Peck and Benjamin Miilepied are on the bill in Program 2 at SF Ballet ",
"description": "Dances by George Balanchine, Justin Peck and Benjamin Miilepied are on the bill in Program 2 at SF Ballet ",
"title": "Dances by George Balanchine, Justin Peck and Benjamin Miilepied are on the bill in Program 2 at SF Ballet",
"credit": "Photo: Courtesy of SF Ballet",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13816403": {
"type": "attachments",
"id": "arts_13816403",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13816403",
"found": true
},
"parent": 13816300,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-520x309.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 309
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-160x95.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 95
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-960x570.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 570
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-375x223.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 223
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest.jpg",
"width": 1920,
"height": 1140
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-1020x606.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 606
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-1180x701.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 701
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-800x475.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 475
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-1920x1140.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1140
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-1180x701.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 701
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-1920x1140.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-768x456.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 456
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Lola.GirlsGoldenWest-240x143.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 143
}
},
"publishDate": 1512113367,
"modified": 1512113448,
"caption": "Lorena Feijoo dances on a reconstruction of the Discovery Tree stump in the opera 'Girls of the Golden West.'",
"description": "Lorena Feijoo dances on a reconstruction of the Discovery Tree stump in the opera 'Girls of the Golden West.'",
"title": "Lola.GirlsGoldenWest",
"credit": "Stefan Cohen / Courtesy San Francisco Opera",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815846": {
"type": "attachments",
"id": "arts_13815846",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815846",
"found": true
},
"parent": 13815837,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337.jpg",
"width": 2298,
"height": 1296
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/girlsofthegoldenwest_stefancohen048-e1511663214337-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511663103,
"modified": 1511663219,
"caption": "The men of The San Francisco Opera Chorus as a horde of angry miners in rehearsal for 'Girls of the Golden West,' a world premiere opera with music by John Adams and libretto and direction by Peter Sellars. ",
"description": null,
"title": "girlsofthegoldenwest_stefancohen048",
"credit": "Photo: Stefan Cohen/San Francisco Opera",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"udursun": {
"type": "authors",
"id": "11883",
"meta": {
"index": "authors_1716337520",
"id": "11883",
"found": true
},
"name": "Ugur Dursun",
"firstName": "Ugur",
"lastName": "Dursun",
"slug": "udursun",
"email": "udursun@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Engagement Producer, KQED Arts & Culture",
"bio": "Ugur Dursun is a reporter and audience engagement producer for KQED Arts. Previously, her reporting has appeared on SFGate, East Bay Times, The Mercury News, KTVU, NBC Bay Area, The Stanford Daily, and other Bay Area local news outlets. In 2023, she was a recipient of Online News Association's \u003ca href=\"https://journalists.org/programs/mj-bear-fellowship/\">MJ Bear Fellowship\u003c/a>, which honors six standout journalists under the age of 30 who are pushing innovation in digital news.",
"avatar": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Ugur Dursun | KQED",
"description": "Engagement Producer, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/udursun"
}
},
"pagesReducer": {
"arts_tag_john-adams": {
"type": "terms",
"id": "arts_1677",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1677",
"score": 10.406018
},
"featImg": null,
"name": "john adams",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "john adams Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1689,
"slug": "john-adams",
"isLoading": false,
"title": "john adams",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=john-adams",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"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_13987995": {
"type": "posts",
"id": "arts_13987995",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13987995",
"score": null,
"sort": [
1774552441000
]
},
"guestAuthors": [],
"slug": "san-francisco-symphony-2026-2027-season",
"title": "The San Francisco Symphony’s 2026–27 Season Is Here",
"publishDate": 1774552441,
"format": "standard",
"headTitle": "The San Francisco Symphony’s 2026–27 Season Is Here | KQED",
"labelTerm": {},
"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">115th season\u003c/a> kicks off on Sept. 8, 2026, and today the orchestra announced a slate of multifaceted programming that includes several premieres and fresh collaborations.\u003c/p>\n\u003cp>Nov. 19–21, 2026, Alonzo King LINES Ballet debuts two new works set to Debussy’s \u003cem>Prélude à L’Après-midi d’un faune\u003c/em> and Copland’s suite from \u003cem>Appalachian Spring\u003c/em>, conducted by James Gaffigan.\u003c/p>\n\u003cp>June 3–5, 2027, the Symphony presents Janni Younge’s production of Stravinsky’s \u003cem>The Firebird\u003c/em> with puppetry and South African dance. Photographer and video artist Deborah O’Grady adds visuals from California’s dramatic landscapes to \u003cem>The Dharma at Big Sur\u003c/em> by Bay Area composer \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a> on June 17 and 18, 2027.\u003c/p>\n\u003cp>[aside postID='arts_13980628']On Feb. 11–13, 2027 San Francisco Symphony premieres a new work by Kyle Rivera, the winner of the \u003ca href=\"https://www.kqed.org/arts/13980628/emerging-black-composers-project-san-francisco-symphony-conservatory-of-music\">Emerging Black Composers Project\u003c/a>. Rivera’s piece dramatizes how dead whales sustain hidden ecosystems of deep-sea organisms.\u003c/p>\n\u003cp>On April 22–24, 2027 former San Francisco Symphony Director Esa-Pekka Salonen returns to Davies Symphony Hall (\u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">he left in 2025\u003c/a> due to disagreements with the board about budget cuts and programming). For the 2026–27 season, Salonen conducts the world premiere of a new concerto for harp and percussion by composer Rene Orth, a San Francisco Symphony commission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joe Hisaishi, the Japanese composer who has worked extensively with director Hayao Miyazaki, returns to the San Francisco Symphony stage on Oct. 22, 2026 for the West Coast premiere of his original Concerto for Orchestra, which he will conduct himself. (Studio Ghibli fans bought up tickets quickly when Hisaishi \u003ca href=\"https://www.kqed.org/arts/13963803/review-joe-hisaishi-studio-ghibli-san-francisco-symphony\">performed with the orchestra in 2024\u003c/a>.)\u003c/p>\n\u003cp>[aside postID='arts_13987039']The San Francisco Symphony will continue popular series including Films with Live Orchestra, which features classics such as \u003cem>Star Wars: Return of the Jedi\u003c/em> and \u003cem>The Ring\u003c/em>. Soundbox, a series of experimental performances in a relaxed, nightclub-like setting, comes back for a 13th season with two programs curated by violinist Vijay Gupta (Jan. 29–30) and conductor Edwin Outwater (April 1–2).\u003c/p>\n\u003cp>The new season also features collaborations with musicians such as Grammy-winning blues singer-songwriter Fantastic Negrito and Berkeley-born composer and environmentalist Gabriella Smith, who has come on as a creative partner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s new season gets underway on Sept. 8, and the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full program can be found here\u003c/a>. Single-concert tickets go on sale July 18, with subscriptions available now.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The orchestra returns with new works that explore mythology and environmentalism, plus fresh collaborations and more. ",
"status": "publish",
"parent": 0,
"modified": 1774563118,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 429
},
"headData": {
"title": "The San Francisco Symphony’s 2026–27 Season Is Here | KQED",
"description": "The orchestra returns with new works that explore mythology and environmentalism, plus fresh collaborations and more. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The San Francisco Symphony’s 2026–27 Season Is Here",
"datePublished": "2026-03-26T12:14:01-07:00",
"dateModified": "2026-03-26T15:11:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13987995",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13987995/san-francisco-symphony-2026-2027-season",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">115th season\u003c/a> kicks off on Sept. 8, 2026, and today the orchestra announced a slate of multifaceted programming that includes several premieres and fresh collaborations.\u003c/p>\n\u003cp>Nov. 19–21, 2026, Alonzo King LINES Ballet debuts two new works set to Debussy’s \u003cem>Prélude à L’Après-midi d’un faune\u003c/em> and Copland’s suite from \u003cem>Appalachian Spring\u003c/em>, conducted by James Gaffigan.\u003c/p>\n\u003cp>June 3–5, 2027, the Symphony presents Janni Younge’s production of Stravinsky’s \u003cem>The Firebird\u003c/em> with puppetry and South African dance. Photographer and video artist Deborah O’Grady adds visuals from California’s dramatic landscapes to \u003cem>The Dharma at Big Sur\u003c/em> by Bay Area composer \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a> on June 17 and 18, 2027.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13980628",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>On Feb. 11–13, 2027 San Francisco Symphony premieres a new work by Kyle Rivera, the winner of the \u003ca href=\"https://www.kqed.org/arts/13980628/emerging-black-composers-project-san-francisco-symphony-conservatory-of-music\">Emerging Black Composers Project\u003c/a>. Rivera’s piece dramatizes how dead whales sustain hidden ecosystems of deep-sea organisms.\u003c/p>\n\u003cp>On April 22–24, 2027 former San Francisco Symphony Director Esa-Pekka Salonen returns to Davies Symphony Hall (\u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">he left in 2025\u003c/a> due to disagreements with the board about budget cuts and programming). For the 2026–27 season, Salonen conducts the world premiere of a new concerto for harp and percussion by composer Rene Orth, a San Francisco Symphony commission.\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>Joe Hisaishi, the Japanese composer who has worked extensively with director Hayao Miyazaki, returns to the San Francisco Symphony stage on Oct. 22, 2026 for the West Coast premiere of his original Concerto for Orchestra, which he will conduct himself. (Studio Ghibli fans bought up tickets quickly when Hisaishi \u003ca href=\"https://www.kqed.org/arts/13963803/review-joe-hisaishi-studio-ghibli-san-francisco-symphony\">performed with the orchestra in 2024\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13987039",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The San Francisco Symphony will continue popular series including Films with Live Orchestra, which features classics such as \u003cem>Star Wars: Return of the Jedi\u003c/em> and \u003cem>The Ring\u003c/em>. Soundbox, a series of experimental performances in a relaxed, nightclub-like setting, comes back for a 13th season with two programs curated by violinist Vijay Gupta (Jan. 29–30) and conductor Edwin Outwater (April 1–2).\u003c/p>\n\u003cp>The new season also features collaborations with musicians such as Grammy-winning blues singer-songwriter Fantastic Negrito and Berkeley-born composer and environmentalist Gabriella Smith, who has come on as a creative partner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s new season gets underway on Sept. 8, and the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full program can be found here\u003c/a>. Single-concert tickets go on sale July 18, with subscriptions available now.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13987995/san-francisco-symphony-2026-2027-season",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1312",
"arts_4058",
"arts_6180",
"arts_10278",
"arts_1677",
"arts_1367"
],
"featImg": "arts_13954798",
"label": "source_arts_13987995"
},
"arts_13970454": {
"type": "posts",
"id": "arts_13970454",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13970454",
"score": null,
"sort": [
1737140701000
]
},
"guestAuthors": [],
"slug": "john-adams-piano-concerto-vikingur-olafsson-san-francisco-symphony-review",
"title": "John Adams’ New Piano Concerto Is a Dreamlike Thrill Ride at Davies",
"publishDate": 1737140701,
"format": "standard",
"headTitle": "John Adams’ New Piano Concerto Is a Dreamlike Thrill Ride at Davies | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13919101']But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "At the SF Symphony, ‘After the Fall’ cohered brilliant elements of Adams’ musical language — plus a little Bach.",
"status": "publish",
"parent": 0,
"modified": 1737145761,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 900
},
"headData": {
"title": "Review: John Adams’ New Piano Concerto Is a Dreamlike Thrill Ride | KQED",
"description": "At the SF Symphony, ‘After the Fall’ cohered brilliant elements of Adams’ musical language — plus a little Bach.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Review: John Adams’ New Piano Concerto Is a Dreamlike Thrill Ride %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "John Adams’ New Piano Concerto Is a Dreamlike Thrill Ride at Davies",
"datePublished": "2025-01-17T11:05:01-08:00",
"dateModified": "2025-01-17T12:29:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13970454",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13970454/john-adams-piano-concerto-vikingur-olafsson-san-francisco-symphony-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13919101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13970454/john-adams-piano-concerto-vikingur-olafsson-san-francisco-symphony-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1312",
"arts_4058",
"arts_10278",
"arts_1677",
"arts_1367",
"arts_585"
],
"featImg": "arts_13970486",
"label": "arts_140"
},
"arts_13967900": {
"type": "posts",
"id": "arts_13967900",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13967900",
"score": null,
"sort": [
1731097785000
]
},
"guestAuthors": [],
"slug": "bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
"publishDate": 1731097785,
"format": "standard",
"headTitle": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Musicians from the Bay Area have secured over a dozen Grammy nominations. ",
"status": "publish",
"parent": 0,
"modified": 1731099694,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 662
},
"headData": {
"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More | KQED",
"description": "Musicians from the Bay Area have secured over a dozen Grammy nominations. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
"datePublished": "2024-11-08T12:29:45-08:00",
"dateModified": "2024-11-08T13:01:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13967900",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13967900/bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\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>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13967900/bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"authors": [
"11883"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_6180",
"arts_21916",
"arts_1543",
"arts_1677",
"arts_1829",
"arts_1010",
"arts_1367"
],
"featImg": "arts_13967933",
"label": "arts"
},
"arts_13954039": {
"type": "posts",
"id": "arts_13954039",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954039",
"score": null,
"sort": [
1710435600000
]
},
"guestAuthors": [],
"slug": "studio-ghibli-music-joe-hisaishi-san-francisco-symphony",
"title": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco",
"publishDate": 1710435600,
"format": "standard",
"headTitle": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The composer for films such as 'Spirited Away' and 'My Neighbor Totoro' will conduct four performances with the San Francisco Symphony.",
"status": "publish",
"parent": 0,
"modified": 1777396690,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 619
},
"headData": {
"title": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco | KQED",
"description": "The composer for films such as 'Spirited Away' and 'My Neighbor Totoro' will conduct four performances with the San Francisco Symphony.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco",
"datePublished": "2024-03-14T10:00:00-07:00",
"dateModified": "2026-04-28T10:18:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13954083",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\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>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69"
],
"tags": [
"arts_22013",
"arts_1677",
"arts_1146",
"arts_1367",
"arts_22014"
],
"featImg": "arts_13954060",
"label": "arts_140"
},
"arts_13953059": {
"type": "posts",
"id": "arts_13953059",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13953059",
"score": null,
"sort": [
1709062897000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1709062897,
"format": "aside",
"title": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco",
"headTitle": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco | KQED",
"content": "\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 403,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1709086593,
"excerpt": "Margaret Atwood's dystopian tale of totalitarian patriarchy arrives at SF Opera in September.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Margaret Atwood's dystopian tale of totalitarian patriarchy arrives at SF Opera in September.",
"title": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco",
"datePublished": "2024-02-27T11:41:37-08:00",
"dateModified": "2024-02-27T18:16:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "handmaids-tale-opera-san-francisco",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13953059/handmaids-tale-opera-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13953059/handmaids-tale-opera-san-francisco",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1677",
"arts_1071",
"arts_3316",
"arts_585"
],
"featImg": "arts_13953074",
"label": "arts_140"
},
"arts_13919101": {
"type": "posts",
"id": "arts_13919101",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13919101",
"score": null,
"sort": [
1663608367000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1663608367,
"format": "audio",
"title": "‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights",
"headTitle": "‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights | KQED",
"content": "\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>[aside postID='arts_12731274']But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 326,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705006368,
"excerpt": "In a world premiere at SF Opera, Adams' new opera emphasizes the story's political overtones. ",
"headData": {
"twImgId": "",
"twTitle": "REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera",
"socialTitle": "REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera %%page%% %%sep%% KQED",
"ogTitle": "REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera",
"ogImgId": "",
"twDescription": "",
"description": "In a world premiere at SF Opera, Adams' new opera emphasizes the story's political overtones. ",
"title": "REVIEW: ‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights at SF Opera | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights",
"datePublished": "2022-09-19T10:26:07-07:00",
"dateModified": "2024-01-11T12:52:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "antony-and-cleopatra-john-adams-review",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/79aefa07-a701-4199-a1e8-af1101651dd6/audio.mp3",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13919101/antony-and-cleopatra-john-adams-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_12731274",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13919101/antony-and-cleopatra-john-adams-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_967"
],
"tags": [
"arts_10278",
"arts_1677",
"arts_763",
"arts_3316",
"arts_585"
],
"featImg": "arts_13919277",
"label": "arts_140"
},
"arts_13906436": {
"type": "posts",
"id": "arts_13906436",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906436",
"score": null,
"sort": [
1637708714000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1637708714,
"format": "standard",
"title": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods",
"headTitle": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED",
"content": "\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAFAfhod9TU\u003c/p>\n\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CHqrh1Dl4oA\u003c/p>\n\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 382,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705007458,
"excerpt": "Saweetie and the San Francisco Symphony also received nods.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Saweetie and the San Francisco Symphony also received nods.",
"title": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods",
"datePublished": "2021-11-23T15:05:14-08:00",
"dateModified": "2024-01-11T13:10:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\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/PAFAfhod9TU'\n title='//www.youtube.com/embed/PAFAfhod9TU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\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/CHqrh1Dl4oA'\n title='//www.youtube.com/embed/CHqrh1Dl4oA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_6187",
"arts_1677",
"arts_1366",
"arts_1367",
"arts_8682"
],
"featImg": "arts_13906441",
"label": "arts"
},
"arts_13882779": {
"type": "posts",
"id": "arts_13882779",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13882779",
"score": null,
"sort": [
1593733341000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1593733341,
"format": "standard",
"title": "The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities)",
"headTitle": "The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities) | KQED",
"content": "\u003cp>Independence Day: America’s birthday, the most terrifying 24 hours of the year for dogs, and the day that American presidents are most likely to kick the bucket.\u003c/p>\n\u003cp>That’s right. The Fourth of July has the strange distinction of being the day that three presidents died. Two of them—John Adams and Thomas Jefferson—passed just five hours apart in 1826. The third, James Monroe, died exactly five years later. The fact that the men were all founding fathers, and served as the second, third and fifth U.S. presidents makes the coincidence even more odd. (The fourth president, James Madison, died on June 28, 1836. Imagine if he’d held on for six days!)\u003c/p>\n\u003cp>[aside postid='pop_22432']While Harry S. Truman and Gerald Ford both died on December 26 (in 1972 and 2006, respectively), and Millard Fillmore and William Howard Taft both died on March 8 (the former in 1874; the latter in 1930), the close cluster of July 4 deaths is definitely stranger. Especially given the historic importance of the day.\u003c/p>\n\u003cp>The first to go, Thomas Jefferson, was 83 at the time of his death and had been bedridden for a month with a variety of physical ailments. He caught a fever on July 3 and succumbed the next day, at 12:50pm at home in Monticello, Virginia. Meanwhile, 569 miles away in Quincy, Massachusetts, 90-year-old John Adams was also on his death bed. He died soon after his friend, entirely unaware of Jefferson’s passing. Adams’ oblivious last words were reportedly: “Thomas Jefferson still survives.” It was the 50th anniversary of the signing of the Declaration of Independence.\u003c/p>\n\u003cp>President John Quincy Adams, struck by his father and Thomas Jefferson dying not just on the same day, but on such a historic occasion, called the timing “visible and palpable remarks of divine favor.” Senator \u003ca href=\"https://www.history.com/news/july-4-two-presidents-died-same-day-coincidence\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Webster agreed\u003c/a>, remarking in a eulogy a month after Adams’ and Jefferson’s deaths that they were “proofs that our country and its benefactors are objects of His [God’s] care.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Precisely five years after Jefferson and Adams passed away, James Monroe died of tuberculosis, aged 73, at his daughter’s home in New York City. Four days later, the \u003ca href=\"https://enewspaper.latimes.com/infinity/article_popover_share.aspx?guid=77802cc8-f7b9-49a1-8be5-17ca0bb47178\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boston Traveler\u003c/em> noted\u003c/a>: “Again our national anniversary has been marked by one of those events, which it may be scarcely permitted to ascribe the chance.”\u003c/p>\n\u003cp>[aside postid='pop_20516']Though the timing of the three deaths remains surprising even today, creepy coincidences are something of a tradition when it comes to American presidents. One such example is that of Theodore Roosevelt’s \u003ca href=\"https://twitter.com/HistoryInPics/status/698937389348163585\" target=\"_blank\" rel=\"noopener noreferrer\">wife and mother\u003c/a> dying on the same day in 1884—on Valentine’s Day, no less.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=FO-WJrCH-mg\" target=\"_blank\" rel=\"noopener noreferrer\">most infamous\u003c/a> set of eerie parallels, however, can be drawn between the lives of Abraham Lincoln and John F. Kennedy. They include the following:\u003c/p>\n\u003cul>\n\u003cli>Both were elected to Congress in ’46 (granted, in different centuries).\u003c/li>\n\u003cli>Both became President in ’60.\u003c/li>\n\u003cli>Both lost sons while living in the White House. (Lincoln’s 11-year-old son William died of typhoid; Kennedy lost 2-day-old Patrick to infant respiratory distress syndrome.)\u003c/li>\n\u003cli>Both are remembered primarily for their work to advance civil rights.\u003c/li>\n\u003cli>Both were shot in the head on a Friday, while their wives were present.\u003c/li>\n\u003cli>Both were succeeded by Presidents named Johnson (Andrew and Lyndon B. respectively) who were born in ’08.\u003c/li>\n\u003cli>Both of their assassins were known by three names—John Wilkes Booth and Lee Harvey Oswald—comprised of 15 letters total.\u003c/li>\n\u003cli>Both murders involved theaters. (Booth shot Lincoln at Ford’s Theatre, Washington, D.C.; Lee Harvey Oswald was arrested at the Texas Theatre in Dallas directly following Kennedy’s murder.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Happy Independence Day, everyone! (And happy birthday to both Malia Obama and Calvin Coolidge—the only president to ever be \u003cem>born\u003c/em> on the Fourth of July.)\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 670,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705020483,
"excerpt": "Thomas Jefferson, John Adams and James Monroe all died on July 4—and the first two went within five hours of each other. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Thomas Jefferson, John Adams and James Monroe all died on July 4—and the first two went within five hours of each other. ",
"title": "The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 3 Presidents Who Died on the Fourth of July (And Other Strange Fatalities)",
"datePublished": "2020-07-02T16:42:21-07:00",
"dateModified": "2024-01-11T16:48:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-3-presidents-who-died-on-the-fourth-of-july-and-other-strange-fatalities",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13882779/the-3-presidents-who-died-on-the-fourth-of-july-and-other-strange-fatalities",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Independence Day: America’s birthday, the most terrifying 24 hours of the year for dogs, and the day that American presidents are most likely to kick the bucket.\u003c/p>\n\u003cp>That’s right. The Fourth of July has the strange distinction of being the day that three presidents died. Two of them—John Adams and Thomas Jefferson—passed just five hours apart in 1826. The third, James Monroe, died exactly five years later. The fact that the men were all founding fathers, and served as the second, third and fifth U.S. presidents makes the coincidence even more odd. (The fourth president, James Madison, died on June 28, 1836. Imagine if he’d held on for six days!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_22432",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>While Harry S. Truman and Gerald Ford both died on December 26 (in 1972 and 2006, respectively), and Millard Fillmore and William Howard Taft both died on March 8 (the former in 1874; the latter in 1930), the close cluster of July 4 deaths is definitely stranger. Especially given the historic importance of the day.\u003c/p>\n\u003cp>The first to go, Thomas Jefferson, was 83 at the time of his death and had been bedridden for a month with a variety of physical ailments. He caught a fever on July 3 and succumbed the next day, at 12:50pm at home in Monticello, Virginia. Meanwhile, 569 miles away in Quincy, Massachusetts, 90-year-old John Adams was also on his death bed. He died soon after his friend, entirely unaware of Jefferson’s passing. Adams’ oblivious last words were reportedly: “Thomas Jefferson still survives.” It was the 50th anniversary of the signing of the Declaration of Independence.\u003c/p>\n\u003cp>President John Quincy Adams, struck by his father and Thomas Jefferson dying not just on the same day, but on such a historic occasion, called the timing “visible and palpable remarks of divine favor.” Senator \u003ca href=\"https://www.history.com/news/july-4-two-presidents-died-same-day-coincidence\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Webster agreed\u003c/a>, remarking in a eulogy a month after Adams’ and Jefferson’s deaths that they were “proofs that our country and its benefactors are objects of His [God’s] care.”\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>Precisely five years after Jefferson and Adams passed away, James Monroe died of tuberculosis, aged 73, at his daughter’s home in New York City. Four days later, the \u003ca href=\"https://enewspaper.latimes.com/infinity/article_popover_share.aspx?guid=77802cc8-f7b9-49a1-8be5-17ca0bb47178\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boston Traveler\u003c/em> noted\u003c/a>: “Again our national anniversary has been marked by one of those events, which it may be scarcely permitted to ascribe the chance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_20516",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Though the timing of the three deaths remains surprising even today, creepy coincidences are something of a tradition when it comes to American presidents. One such example is that of Theodore Roosevelt’s \u003ca href=\"https://twitter.com/HistoryInPics/status/698937389348163585\" target=\"_blank\" rel=\"noopener noreferrer\">wife and mother\u003c/a> dying on the same day in 1884—on Valentine’s Day, no less.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=FO-WJrCH-mg\" target=\"_blank\" rel=\"noopener noreferrer\">most infamous\u003c/a> set of eerie parallels, however, can be drawn between the lives of Abraham Lincoln and John F. Kennedy. They include the following:\u003c/p>\n\u003cul>\n\u003cli>Both were elected to Congress in ’46 (granted, in different centuries).\u003c/li>\n\u003cli>Both became President in ’60.\u003c/li>\n\u003cli>Both lost sons while living in the White House. (Lincoln’s 11-year-old son William died of typhoid; Kennedy lost 2-day-old Patrick to infant respiratory distress syndrome.)\u003c/li>\n\u003cli>Both are remembered primarily for their work to advance civil rights.\u003c/li>\n\u003cli>Both were shot in the head on a Friday, while their wives were present.\u003c/li>\n\u003cli>Both were succeeded by Presidents named Johnson (Andrew and Lyndon B. respectively) who were born in ’08.\u003c/li>\n\u003cli>Both of their assassins were known by three names—John Wilkes Booth and Lee Harvey Oswald—comprised of 15 letters total.\u003c/li>\n\u003cli>Both murders involved theaters. (Booth shot Lincoln at Ford’s Theatre, Washington, D.C.; Lee Harvey Oswald was arrested at the Texas Theatre in Dallas directly following Kennedy’s murder.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Happy Independence Day, everyone! (And happy birthday to both Malia Obama and Calvin Coolidge—the only president to ever be \u003cem>born\u003c/em> on the Fourth of July.)\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13882779/the-3-presidents-who-died-on-the-fourth-of-july-and-other-strange-fatalities",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_7862"
],
"tags": [
"arts_10278",
"arts_2640",
"arts_1677",
"arts_9858",
"arts_5826"
],
"featImg": "arts_13882830",
"label": "arts"
},
"arts_13876066": {
"type": "posts",
"id": "arts_13876066",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13876066",
"score": null,
"sort": [
1583590527000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1583590527,
"format": "audio",
"title": "Her Side of the Story: Tales of California Pioneer Women",
"headTitle": "Her Side of the Story: Tales of California Pioneer Women | KQED",
"content": "\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 859,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705021142,
"excerpt": "A new exhibit at History San Jose explores first-hand accounts of the California Gold Rush from women.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new exhibit at History San Jose explores first-hand accounts of the California Gold Rush from women.",
"title": "Her Side of the Story: Tales of California Pioneer Women | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Her Side of the Story: Tales of California Pioneer Women",
"datePublished": "2020-03-07T06:15:27-08:00",
"dateModified": "2024-01-11T16:59:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "her-side-of-the-story-tales-of-california-pioneer-women",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2020/03/MyrowGoldRushWomen.mp3",
"sticky": false,
"path": "/arts/13876066/her-side-of-the-story-tales-of-california-pioneer-women",
"audioDuration": 95000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age that delights in ripping apart hackneyed origin stories, there remains the fact that the promise of gold really did launch an exodus from all over the world to a place the \u003ca href=\"https://www.kqed.org/news/92759/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">Spanish\u003c/a> named California.\u003c/p>\n\u003cp>An estimated 300,000 people from the rest of the United States and abroad proverbially dropped their plows in the field, and left half-written sermons fluttering on church pulpits to join ships and wagon trains headed to a land where life-changing fortunes could be made.\u003c/p>\n\u003cp>Most of these bright-eyed fortune-seekers were men, but women came, too. They dragged with them trunks, sewing machines, laundry tubs, even wedding gowns half-way across the world in their zeal to start a new life in unfamiliar territory. A new exhibition tells \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Her Side of the Story: Tales of California Pioneer Women\u003c/em>\u003c/a> at History San Jose.\u003c/p>\n\u003cp>The California Gold Rush (1848–1855) began on January 24, 1848, when gold was found by James W. Marshall at Sutter’s Mill in Coloma. The exhibit, produced in collaboration with the \u003ca href=\"https://www.californiapioneers.org\" target=\"_blank\" rel=\"noopener noreferrer\">Society of California Pioneers\u003c/a> in San Francisco, features 30 first-person accounts from women who came to California prior to 1854. Also: 40 portraits of unidentified women, whose stories were not recorded at the time, taken by photographers we’ll never know either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13876072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg\" alt=\"\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OVERLAND-CHOLERA-SCURVEY-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">As preparations were made to commemorate California’s Golden Jubilee in 1900, the Association of Pioneer Women of California collected reminiscences of women, many of whom arrived here as children alongside their mothers 50 years prior. These stories, more than 800 of them, form the basis for the exhibition at History San Jose.\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>What strikes me most reading them is the matter-of-fact way these women wrote about experiences most of us today would find traumatic. For instance, watching loved ones die on the way to California, or almost die.\u003c/p>\n\u003cblockquote>\u003cp>“Mother was so ill from seasickness and exposure that she had to be carried off the steamer. After leaving Gorgona she was strapped on the back of a mule, but the mule refused to move. After some coaxing, he trotted off, passed all others on the way, reaching Panama far in advance.” – Kathleen Cole, originally of Ireland\u003c/p>\u003c/blockquote>\n\u003cp>Rosa Reynolds Boyd came by steamer in 1853. The ship she was on got lost in heavy fog, and hit rocks off the coast of Marin County.\u003c/p>\n\u003cp>“My mother was the first to be lowered to the life boat. We spent two days and one night on the beach,” Boyd wrote.\u003c/p>\n\u003cfigure id=\"attachment_13876067\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg\" alt=\"Rosa Reynolds Boyd survived her journey to California, but just barely.\" width=\"1800\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/WRECK-OFF-MARIN-COAST-1020x1020.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Rosa Reynolds Boyd survived her journey to California, but just barely. \u003ccite>(Courtesy of The Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party made it to shore, but just about everything other than the clothes on their backs sank with the steamer.\u003c/p>\n\u003cp>“The first step my mother made in S.F. was upon a bright shining silver quarter dollar, which she deemed an omen of good fortune. But not so. That very night, the Hotel we were in was burnt to the ground.”\u003c/p>\n\u003cp>White men have hogged the headlines for generations. If you think of Gold Rush era women at all, it’s typically as exotified prostitutes, or dutiful wives. Many did come bound to serve others, dying as constricted as they were in the places they started in.\u003c/p>\n\u003cp>But others took advantage of the opportunities presented by fast-burgeoning settlements in desperate need of talent, charm and business acumen. Women were saloon keepers, chefs, seamstresses, journalists and even \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\" target=\"_blank\" rel=\"noopener noreferrer\">entrepreneurs\u003c/a> who made fortunes, when there were fortunes to be made.\u003c/p>\n\u003cfigure id=\"attachment_13876074\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg\" alt='This unidentified woman is one of 40 Gold Rush pioneers featured in \"Her Side of the Story: Tales of California Pioneer Women\" at the Arbuckle Gallery in History Park San Jose through June 28th, 2020.' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS41904_35-2-qut-1020x1020.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This unidentified woman is one of 40 Gold Rush pioneers featured in “Her Side of the Story: Tales of California Pioneer Women” at the Arbuckle Gallery in History Park San Jose through June 28th, 2020. \u003ccite>(Courtesy of the Society of California Pioneers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They came from \u003ca href=\"https://www.kqed.org/news/11626850/for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home\" target=\"_blank\" rel=\"noopener noreferrer\">China\u003c/a>, Mexico, Chile, France, Italy and Ireland, as well as the Eastern Seaboard and the Midwest. My imagination yearns for the stories set down in languages other than English, or never set down at all.\u003c/p>\n\u003cp>We have today a wealth of newspapers, books, TV shows and movies to tell us the stories of the men who came to California, but those seeking enlightenment about women must sift through fragmentary evidence like untitled daguerreotypes and divorce records.\u003c/p>\n\u003cp>Artists like Bay Area composer \u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> have only just begun to mine the legacy, to reimagine our past from a perspective more sympathetic to and curious about women. His opera owes much to Louise Amelia Clappe, whose 1851-52 letters were published as \u003cem>The Shirley Papers\u003c/em>. Perhaps exploring these first-person accounts, you’ll be inspired to add to this genre, so rich with unrealized potential.\u003c/p>\n\u003cp>History San Jose’s exhibitions coordinator Dan Charm says \u003cem>Her Side of the Story\u003c/em> “represents a part of history that has been under-told.” To him, that’s the very best kind of history to tell now.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Her Side of the Story: Tales of California Pioneer Women \u003c/strong> runs March 5 – June 28, 2020 at History San Jose. For more information, click \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/hotel-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13876066/her-side-of-the-story-tales-of-california-pioneer-women",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_7862",
"arts_235"
],
"tags": [
"arts_3649",
"arts_2272",
"arts_2640",
"arts_1677",
"arts_4642"
],
"featImg": "arts_13876068",
"label": "arts"
},
"arts_13823868": {
"type": "posts",
"id": "arts_13823868",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823868",
"score": null,
"sort": [
1518043815000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1518043815,
"format": "standard",
"title": "New Steps for a Classic Ballet Featuring Aaron Copland's Music",
"headTitle": "New Steps for a Classic Ballet Featuring Aaron Copland’s Music | KQED",
"content": "\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=tLna7S-iF7U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 260,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705028577,
"excerpt": "SF Ballet's Program 2 celebrates the work of three American dancemakers",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "SF Ballet's Program 2 celebrates the work of three American dancemakers",
"title": "New Steps for a Classic Ballet Featuring Aaron Copland's Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Steps for a Classic Ballet Featuring Aaron Copland's Music",
"datePublished": "2018-02-07T14:50:15-08:00",
"dateModified": "2024-01-11T19:02:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-steps-for-a-classic-ballet-featuring-aaron-coplands-music",
"status": "publish",
"sticky": false,
"path": "/arts/13823868/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aaron Copland’s \u003cem>Rodeo\u003c/em> (pronounced \u003cem>row-DAY-oh\u003c/em>) is a classic piece of musical Americana that evokes the imagery of a barn dance. Copland wrote it for a 1942 Agnes De Mille ballet that played up the music’s western influences; the dancers did their two steps and pirouettes while dressed as cowboys, cowgirls, and farm gals. \u003c/p>\n\u003cp>Now San Francisco Ballet is featuring choreographer Justin Peck’s new take on the music, which is stripped of its western trappings. Peck is a resident choreographer with the New York City Ballet, and a prolific and inventive dancemaker. Peck’s productions move big groups around the stage in beautiful patterns and often pair male dancers in romantic duets, which is still shocking to some. Just to emphasize his fresh approach, Peck insists on pronouncing \u003cem>Rodeo\u003c/em> without the Spanish influence, so \u003cem>ROW-dee-oh\u003c/em> instead of \u003cem>row-DAY-oh\u003c/em>. \u003c/p>\n\u003cp>We saw Peck’s fabulously busy \u003cem>In the Countenance of Kings\u003c/em> last year at SF Ballet. His version of \u003ci>Countenance\u003c/i> was set to music from Sufjan Stevens’ composition \u003cem>The BQE\u003c/em>. \u003cem>Rodeo\u003c/em> is part of Program 2 at SF Ballet, titled \u003ci>Bright Fast Cool Blue,\u003c/i> which also features dances by Benjamin Millepied (\u003ci>The Chairman Dances,\u003c/i> set to music by Berkeley’s John Adams\u003ci>), \u003c/i>and George Balanchine, one of SF Ballet Artistic Director Helgi Tomasson’s mentors. Details for Program 2 running Feb. 13-24 are \u003ca href=\"https://www.sfballet.org/season/2018-repertory/2018-program-2\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tLna7S-iF7U'\n title='//www.youtube.com/embed/tLna7S-iF7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823868/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_966"
],
"tags": [
"arts_879",
"arts_1006",
"arts_1677",
"arts_6387",
"arts_596",
"arts_1643"
],
"featImg": "arts_13823883",
"label": "arts_140"
},
"arts_13816300": {
"type": "posts",
"id": "arts_13816300",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13816300",
"score": null,
"sort": [
1512144059000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1512144059,
"format": "audio",
"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
"headTitle": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
"content": "\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1011,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 31
},
"modified": 1705028997,
"excerpt": "Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'",
"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
"datePublished": "2017-12-01T08:00:59-08:00",
"dateModified": "2024-01-11T19:09:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "giant-tree-stump-journeys-from-sierras-to-sf-opera-stage",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2017/12/VeltmanGoldenGirlsWest.mp3",
"sticky": false,
"path": "/arts/13816300/giant-tree-stump-journeys-from-sierras-to-sf-opera-stage",
"audioDuration": 344000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\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 image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13816300/giant-tree-stump-journeys-from-sierras-to-sf-opera-stage",
"authors": [
"8608"
],
"categories": [
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1037",
"arts_1119",
"arts_1118",
"arts_977",
"arts_2254",
"arts_1677",
"arts_596",
"arts_1071"
],
"featImg": "arts_13816403",
"label": "arts"
},
"arts_13815837": {
"type": "posts",
"id": "arts_13815837",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815837",
"score": null,
"sort": [
1511884850000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1511884850,
"format": "audio",
"title": "Mining Songs Get a Sinister Twist in 'Girls of the Golden West'",
"headTitle": "Mining Songs Get a Sinister Twist in ‘Girls of the Golden West’ | KQED",
"content": "\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 557,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705029033,
"excerpt": "In his new opera, John Adams radically transforms melodies from the Gold Rush to show a darker side of California history.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In his new opera, John Adams radically transforms melodies from the Gold Rush to show a darker side of California history.",
"title": "Mining Songs Get a Sinister Twist in 'Girls of the Golden West' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mining Songs Get a Sinister Twist in 'Girls of the Golden West'",
"datePublished": "2017-11-28T08:00:50-08:00",
"dateModified": "2024-01-11T19:10:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mining-songs-get-a-sinister-twist-in-girls-of-the-golden-west",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2017/11/VeltmanMiningSongs.mp3",
"sticky": false,
"path": "/arts/13815837/mining-songs-get-a-sinister-twist-in-girls-of-the-golden-west",
"audioDuration": 175000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond details gleaned from artifacts like early photographs and hand-written letters, what we know of miners’ lives during California’s Gold Rush era comes to us from mining songs — the simple, homespun ditties that prospectors sang in the 1850s and ’60s.\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">\u003cem>Girls of the Golden West\u003c/em>\u003c/a>, a new San Francisco Opera production by Berkeley composer John Adams, features quite a few of these songs. But Adams radically transformed the melodies in his opera to show a darker side of California history — one that resonates with news headlines in this country today.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their original form, some of the mining songs were romantic, clownish, or happy-go-lucky, while others were more melancholy, covering such themes as missing loved ones back home, the long and difficult journey out west, and the hardships of a miner’s life.\u003c/p>\n\u003cp>They were published in chapbooks only as lyrics, without musical notation of any kind. The new lyrics were simply sung to already familiar folk tunes of the day like “Oh Susanna,” “Old Folks at Home,” and “Camptown Races.”\u003c/p>\n\u003cp>At a recent symposium about \u003cem>Girls of the Golden West\u003c/em>, Adams confessed to not finding the melodies very interesting. But he responded strongly to the raw emotions of the words, and wanted to use them to tell what he sees as a more truthful story of mining life in the mid 1800s.\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>“I wanted to make a music that was as simple and as direct as what I felt life was like for these people,” Adams said.\u003c/p>\n\u003cp>So the composer kept the lyrics from the mining songs, but ignored the melodies entirely and instead created his own spin on them in the opera.\u003c/p>\n\u003cfigure id=\"attachment_13815845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png\" alt=\"Lyrics for the 1861 mining song, 'The Lousy Miner' from 'Put's Golden Songster.'\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-1180x804.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-960x654.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-240x164.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-375x256.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00-520x355.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-25-at-18.17.00.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics for the 1861 mining song, ‘The Lousy Miner’ from ‘Put’s Golden Songster.’\u003c/figcaption>\u003c/figure>\n\u003cp>His adaptation of a mining song called “The Lousy Miner” exemplifies this process. Originally published in 1861 in a chapbook titled \u003cem>Put’s Golden Songster\u003c/em>, the lyrics were set to a famous old tune, “Dark-Eyed Sailor.”\u003c/p>\n\u003cp>The song, sung in the first person, tells of a miner who’s down on on his luck. He’s dirt poor, his sweetheart has left him, and he’s covered in lice.\u003c/p>\n\u003cp>[jwplayer mediaid=”13815848″]\u003c/p>\n\u003cp>But at the climax of his new opera, Adams takes this sad little song and twists it into something far from melancholic. Sung by an angry mob of miners hellbent on driving non-white residents out of Gold Country, it’s frightening and violent.\u003c/p>\n\u003cp>Adams said he was influenced by news stories about political rallies in the run-up to the 2016 elections as he was writing his opera from his home base in Berkeley.\u003c/p>\n\u003cp>“It’s terrifyingly high-spirited,” Adams said of his version of “The Lousy Miner.” “The sort of thing you’d hear at a violent political rally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of The Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815837/mining-songs-get-a-sinister-twist-in-girls-of-the-golden-west",
"authors": [
"8608"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1037",
"arts_1119",
"arts_1118",
"arts_2254",
"arts_2272",
"arts_1677",
"arts_1071",
"arts_2792"
],
"featImg": "arts_13815846",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=john-adams": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 20,
"relation": "eq"
},
"items": [
"arts_13987995",
"arts_13970454",
"arts_13967900",
"arts_13954039",
"arts_13953059",
"arts_13919101",
"arts_13906436",
"arts_13882779",
"arts_13876066",
"arts_13823868",
"arts_13816300",
"arts_13815837"
],
"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_john-adams": {
"isLoading": true
},
"arts_1677": {
"type": "terms",
"id": "arts_1677",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1677",
"found": true
},
"relationships": {},
"featImg": null,
"name": "john adams",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "john adams Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1689,
"slug": "john-adams",
"isLoading": false,
"link": "/arts/tag/john-adams"
},
"source_arts_13987995": {
"type": "terms",
"id": "source_arts_13987995",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_4058": {
"type": "terms",
"id": "arts_4058",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4058",
"found": true
},
"relationships": {},
"featImg": null,
"name": "davies symphony hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "davies symphony hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4070,
"slug": "davies-symphony-hall",
"isLoading": false,
"link": "/arts/tag/davies-symphony-hall"
},
"arts_6180": {
"type": "terms",
"id": "arts_6180",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6180",
"found": true
},
"relationships": {},
"featImg": null,
"name": "esa-pekka salonen",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "esa-pekka salonen Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6192,
"slug": "esa-pekka-salonen",
"isLoading": false,
"link": "/arts/tag/esa-pekka-salonen"
},
"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_1367": {
"type": "terms",
"id": "arts_1367",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1367",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Symphony",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Symphony Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1379,
"slug": "san-francisco-symphony",
"isLoading": false,
"link": "/arts/tag/san-francisco-symphony"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"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_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_21868": {
"type": "terms",
"id": "arts_21868",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21868",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21880,
"slug": "california",
"isLoading": false,
"link": "/arts/interest/california"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"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_21916": {
"type": "terms",
"id": "arts_21916",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21916",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammy awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammy awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21928,
"slug": "grammy-awards",
"isLoading": false,
"link": "/arts/tag/grammy-awards"
},
"arts_1543": {
"type": "terms",
"id": "arts_1543",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1543",
"found": true
},
"relationships": {},
"featImg": null,
"name": "green day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "green day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1555,
"slug": "green-day",
"isLoading": false,
"link": "/arts/tag/green-day"
},
"arts_1829": {
"type": "terms",
"id": "arts_1829",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1829",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kehlani",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kehlani Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1841,
"slug": "kehlani",
"isLoading": false,
"link": "/arts/tag/kehlani"
},
"arts_1010": {
"type": "terms",
"id": "arts_1010",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1010",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Metallica",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Metallica Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1027,
"slug": "metallica",
"isLoading": false,
"link": "/arts/tag/metallica"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_21873": {
"type": "terms",
"id": "arts_21873",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21873",
"found": true
},
"relationships": {},
"featImg": null,
"name": "North Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "North Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21885,
"slug": "north-bay",
"isLoading": false,
"link": "/arts/interest/north-bay"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_22013": {
"type": "terms",
"id": "arts_22013",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22013",
"found": true
},
"relationships": {},
"featImg": null,
"name": "anime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "anime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22025,
"slug": "anime",
"isLoading": false,
"link": "/arts/tag/anime"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_22014": {
"type": "terms",
"id": "arts_22014",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22014",
"found": true
},
"relationships": {},
"featImg": null,
"name": "soundbox",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "soundbox Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22026,
"slug": "soundbox",
"isLoading": false,
"link": "/arts/tag/soundbox"
},
"arts_1071": {
"type": "terms",
"id": "arts_1071",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1071",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1088,
"slug": "san-francisco-opera",
"isLoading": false,
"link": "/arts/tag/san-francisco-opera"
},
"arts_3316": {
"type": "terms",
"id": "arts_3316",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3316",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SF Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SF Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3328,
"slug": "sf-opera",
"isLoading": false,
"link": "/arts/tag/sf-opera"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_763": {
"type": "terms",
"id": "arts_763",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "763",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 781,
"slug": "opera",
"isLoading": false,
"link": "/arts/tag/opera"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_6187": {
"type": "terms",
"id": "arts_6187",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6187",
"found": true
},
"relationships": {},
"featImg": null,
"name": "h.e.r.",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "h.e.r. Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6199,
"slug": "h-e-r",
"isLoading": false,
"link": "/arts/tag/h-e-r"
},
"arts_1366": {
"type": "terms",
"id": "arts_1366",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1366",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Tilson Thomas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Tilson Thomas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1378,
"slug": "michael-tilson-thomas",
"isLoading": false,
"link": "/arts/tag/michael-tilson-thomas"
},
"arts_8682": {
"type": "terms",
"id": "arts_8682",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8682",
"found": true
},
"relationships": {},
"featImg": null,
"name": "saweetie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "saweetie Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8694,
"slug": "saweetie",
"isLoading": false,
"link": "/arts/tag/saweetie"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_2640": {
"type": "terms",
"id": "arts_2640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2652,
"slug": "history",
"isLoading": false,
"link": "/arts/tag/history"
},
"arts_9858": {
"type": "terms",
"id": "arts_9858",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9858",
"found": true
},
"relationships": {},
"featImg": null,
"name": "numerology",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "numerology Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9870,
"slug": "numerology",
"isLoading": false,
"link": "/arts/tag/numerology"
},
"arts_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"arts_3649": {
"type": "terms",
"id": "arts_3649",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3649",
"found": true
},
"relationships": {},
"featImg": null,
"name": "galleries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "galleries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3661,
"slug": "galleries",
"isLoading": false,
"link": "/arts/tag/galleries"
},
"arts_2272": {
"type": "terms",
"id": "arts_2272",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2272",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gold rush",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gold rush Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2284,
"slug": "gold-rush",
"isLoading": false,
"link": "/arts/tag/gold-rush"
},
"arts_4642": {
"type": "terms",
"id": "arts_4642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rachael Myrow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rachael Myrow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4654,
"slug": "rachael-myrow",
"isLoading": false,
"link": "/arts/tag/rachael-myrow"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_879": {
"type": "terms",
"id": "arts_879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": "Covering dance events in the Bay Area and more.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Covering dance events in the Bay Area and more.",
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 897,
"slug": "dance",
"isLoading": false,
"link": "/arts/tag/dance"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_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_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_1643": {
"type": "terms",
"id": "arts_1643",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1643",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Ballet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Ballet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1655,
"slug": "san-francisco-ballet",
"isLoading": false,
"link": "/arts/tag/san-francisco-ballet"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_2254": {
"type": "terms",
"id": "arts_2254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Girls of the Golden West",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Girls of the Golden West Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2266,
"slug": "girls-of-the-golden-west",
"isLoading": false,
"link": "/arts/tag/girls-of-the-golden-west"
},
"arts_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}