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_13920337": {
"type": "attachments",
"id": "arts_13920337",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920337",
"found": true
},
"parent": 13920320,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450.jpg",
"width": 1616,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450-1020x682.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 682
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450-1536x1027.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1027
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04450-768x513.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 513
}
},
"publishDate": 1665686152,
"modified": 1665686270,
"caption": "Traci Bartlow, owner of B-Love's Guesthouse, sits on the porch of her property in West Oakland. ",
"description": "Traci Bartlow, owner of B-Love's Guesthouse, sits on the porch of her property in West Oakland. ",
"title": "Traci Bartlow, owner of B-Love's Guesthouse, sits on the porch of her property in West Oakland.",
"credit": "Pendarvis Harshaw",
"status": "inherit",
"altTag": "Traci Bartlow, owner of B-Love's Guesthouse, sits on the porch of her property in West Oakland.",
"isLoading": false,
"fetchFailed": false
},
"arts_13920346": {
"type": "attachments",
"id": "arts_13920346",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920346",
"found": true
},
"parent": 13920345,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-scaled.jpg",
"width": 2560,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_golden_arches_malcolm_ryder-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1665690982,
"modified": 1665694165,
"caption": "Malcolm Ryder's photo exhibit, \"Thirteen Ways of Looking at Kasper's,\" documents the iconic hot dog institution and the changing neighborhood elements surrounding it. This photograph is entitled \"Golden Arches.\"",
"description": null,
"title": "kaspers_golden_arches_malcolm_ryder",
"credit": "Malcolm Ryder",
"status": "inherit",
"altTag": "A side profile of Kasper's, a local hot dog business, with a McDonalds in the background. Graffiti cover the sides, and it appears that a homeless person is living on one side of the walls.",
"isLoading": false,
"fetchFailed": false
},
"arts_13920070": {
"type": "attachments",
"id": "arts_13920070",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920070",
"found": true
},
"parent": 13920049,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-160x116.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 116
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1.jpg",
"width": 2398,
"height": 1746
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-2048x1491.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1491
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-1020x743.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 743
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-1536x1118.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1118
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-1920x1398.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1398
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-800x582.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 582
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/821112_SA_60-1-768x559.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 559
}
},
"publishDate": 1665076020,
"modified": 1665076092,
"caption": "Sydney Welch, a photographer from Fremont, poses for a photo while holding her camera. ",
"description": "Sydney Welch, photographer from Fremont, poses for a photo while holding her camera. Sydney is wearing a white sweater and a scarf over her head, while holding her camera near her face. ",
"title": null,
"credit": "Sydney Welch",
"status": "inherit",
"altTag": "Sydney Welch, a photographer from Fremont, poses for a photo while holding her camera.",
"isLoading": false,
"fetchFailed": false
},
"arts_13920120": {
"type": "attachments",
"id": "arts_13920120",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920120",
"found": true
},
"parent": 0,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/LisaFrankenstein_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/LisaFrankenstein_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/LisaFrankenstein_COVER.jpg",
"width": 900,
"height": 507
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/LisaFrankenstein_COVER-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/LisaFrankenstein_COVER-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
}
},
"publishDate": 1665091042,
"modified": 1665091106,
"caption": "Detail of an image of drag performer Lisa Frankenstein by Aaron Wojack.",
"description": null,
"title": "LisaFrankenstein_COVER",
"credit": "Courtesy of the artist",
"status": "inherit",
"altTag": "Performer in white curly wig and yellow blazer with wide-eyed look",
"isLoading": false,
"fetchFailed": false
},
"arts_13916052": {
"type": "attachments",
"id": "arts_13916052",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13916052",
"found": true
},
"parent": 13916039,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-160x114.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 114
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-scaled.jpg",
"width": 2560,
"height": 1826
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-2048x1461.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1461
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-1020x728.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 728
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-1536x1096.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1096
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-1920x1369.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1369
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-800x571.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 571
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-06-768x548.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 548
}
},
"publishDate": 1657739242,
"modified": 1657743596,
"caption": "KK Brinson poses for a portrait with one of her horses, Kairo, after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley, CA. It was Kairo's first rodeo and Brinson worked with him every week to prepare.",
"description": null,
"title": "20220710_KK_BPIR-06",
"credit": "Amaya Edwards/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13915085": {
"type": "attachments",
"id": "arts_13915085",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13915085",
"found": true
},
"parent": 13915084,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM-160x96.png",
"width": 160,
"mimeType": "image/png",
"height": 96
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM.png",
"width": 1594,
"height": 952
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM-1020x609.png",
"width": 1020,
"mimeType": "image/png",
"height": 609
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM-1536x917.png",
"width": 1536,
"mimeType": "image/png",
"height": 917
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM-800x478.png",
"width": 800,
"mimeType": "image/png",
"height": 478
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.40.35-PM-768x459.png",
"width": 768,
"mimeType": "image/png",
"height": 459
}
},
"publishDate": 1655847663,
"modified": 1655854171,
"caption": "Chloe Sherman, 'View from the backseat,' 1997.",
"description": null,
"title": "View from the backseat, 1997.",
"credit": "Courtesy the artist",
"status": "inherit",
"altTag": "A person with braided chin hair looks into the back seat of a vintage car.",
"isLoading": false,
"fetchFailed": false
},
"arts_13914466": {
"type": "attachments",
"id": "arts_13914466",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13914466",
"found": true
},
"parent": 13914464,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621-160x92.png",
"width": 160,
"mimeType": "image/png",
"height": 92
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621.png",
"width": 1920,
"height": 1104
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-2048x1368.png",
"width": 2048,
"mimeType": "image/png",
"height": 1368
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621-1020x587.png",
"width": 1020,
"mimeType": "image/png",
"height": 587
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621-1536x883.png",
"width": 1536,
"mimeType": "image/png",
"height": 883
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-1920x1282.png",
"width": 1920,
"mimeType": "image/png",
"height": 1282
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621-800x460.png",
"width": 800,
"mimeType": "image/png",
"height": 460
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-06-at-4.05.18-PM-e1655239822621-768x442.png",
"width": 768,
"mimeType": "image/png",
"height": 442
}
},
"publishDate": 1654556967,
"modified": 1655239864,
"caption": "Jungle Books Library, part of the Jungle refugee camp in Calais, France. The camp was demolished in October 2016, but its small library served as a bright spot in an otherwise bleak location.",
"description": null,
"title": "Jungle Books Library, part of the Jungle refugee camp in Calais, France. The camp was demolished in October 2016, but its small library served as a bright spot in an otherwise bleak location.",
"credit": "The Global Library Project",
"status": "inherit",
"altTag": "A small structure with corrugated iron roof. The outer wall is painted blue and decorated with the words 'Jungle Books' written in three languages.",
"isLoading": false,
"fetchFailed": false
},
"arts_13912942": {
"type": "attachments",
"id": "arts_13912942",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13912942",
"found": true
},
"parent": 13912887,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/Muybridge-camera-array-recreation_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1651774983,
"modified": 1651775089,
"caption": "A array of cameras set up by the filmmakers to recreate Muybridge's most famous photographs.",
"description": null,
"title": "Muybridge-camera-array-recreation_COVER",
"credit": "Courtesy California Film Institute",
"status": "inherit",
"altTag": "Rider and horse gallop in front of white wall faced by dozens of cameras",
"isLoading": false,
"fetchFailed": false
},
"arts_13908133": {
"type": "attachments",
"id": "arts_13908133",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13908133",
"found": true
},
"parent": 13908113,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-160x203.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 203
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-scaled.jpeg",
"width": 2021,
"height": 2560
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-1617x2048.jpeg",
"width": 1617,
"mimeType": "image/jpeg",
"height": 2048
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-1020x1292.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 1292
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-1213x1536.jpeg",
"width": 1213,
"mimeType": "image/jpeg",
"height": 1536
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-1920x2432.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2432
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-800x1013.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 1013
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/JaredUnderwater-768x973.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 973
}
},
"publishDate": 1642102802,
"modified": 1642102968,
"caption": "Jared, a veteran and survivor of PTSD, takes a dip in the pool.",
"description": "His hair is in a mohawk, and he lets out a scream underwater that bubbles up above him, creating a sort of cloud halo on the surface of the water above. He's a veteran and his right arm ends right below his shoulder.",
"title": "Jared, a veteran and survivor of PTSD, takes a dip in the pool.",
"credit": null,
"status": "inherit",
"altTag": "Jared, a veteran and survivor of PTSD, takes a dip in the pool.",
"isLoading": false,
"fetchFailed": false
},
"arts_13906162": {
"type": "attachments",
"id": "arts_13906162",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906162",
"found": true
},
"parent": 13906092,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM-160x106.png",
"width": 160,
"mimeType": "image/png",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM.png",
"width": 1832,
"height": 1218
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM-1020x678.png",
"width": 1020,
"mimeType": "image/png",
"height": 678
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM-1536x1021.png",
"width": 1536,
"mimeType": "image/png",
"height": 1021
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM-800x532.png",
"width": 800,
"mimeType": "image/png",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.55-AM-768x511.png",
"width": 768,
"mimeType": "image/png",
"height": 511
}
},
"publishDate": 1637014561,
"modified": 1637129409,
"caption": "Reproductions of old Go-Go's concert posters, stuck to a cabinet downstairs at Saint Joseph's Art Society's 'Gina Schock: Made in Hollywood' exhibit.",
"description": null,
"title": "Reproductions of old Go-Go's concert posters, stuck to a cabinet downstairs at Saint Joseph's Art Society's 'Gina Schock: Made in Hollywood' exhibit.",
"credit": "Johnny Dismal",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13906083": {
"type": "attachments",
"id": "arts_13906083",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906083",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/Eyeball-Mural_Credit-Tabitha-Soren_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1636583538,
"modified": 1636583679,
"caption": "Installation view of ‘Tabitha Soren: Surface Tension’ at Mills College Art Museum.",
"description": "Installation view of ‘Tabitha Soren: Surface Tension’ at Mills College Art Museum.",
"title": "Eyeball-Mural_Credit-Tabitha-Soren_COVER",
"credit": "Tabitha Soren",
"status": "inherit",
"altTag": "Close-up of giant eyeball on wall with framed photos behind it.",
"isLoading": false,
"fetchFailed": false
},
"arts_13904503": {
"type": "attachments",
"id": "arts_13904503",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13904503",
"found": true
},
"parent": 13902953,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM-160x107.png",
"width": 160,
"mimeType": "image/png",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM.png",
"width": 1892,
"height": 1268
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM-1020x684.png",
"width": 1020,
"mimeType": "image/png",
"height": 684
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM-1536x1029.png",
"width": 1536,
"mimeType": "image/png",
"height": 1029
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM-800x536.png",
"width": 800,
"mimeType": "image/png",
"height": 536
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-12.26.08-PM-768x515.png",
"width": 768,
"mimeType": "image/png",
"height": 515
}
},
"publishDate": 1634066795,
"modified": 1634066879,
"caption": "Performance group Contraband, in the Mission's Gartland Pit, 1986. (L-R) Jess Curtis, Keith Hennessy, Brenda Munnell, Sara Shelton Mann.",
"description": "Performance group Contraband, in the Mission's Gartland Pit, 1986. (L-R) Jess Curtis, Keith Hennessy, Brenda Munnell, Sara Shelton Mann.",
"title": "Performance group Contraband, in the Mission's Gartland Pit, 1986. (L-R) Jess Curtis, Keith Hennessy, Brenda Munnell, Sara Shelton Mann.",
"credit": "Jeanne Hansen",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"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"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"mmedina": {
"type": "authors",
"id": "11528",
"meta": {
"index": "authors_1716337520",
"id": "11528",
"found": true
},
"name": "Marisol Medina-Cadena",
"firstName": "Marisol",
"lastName": "Medina-Cadena",
"slug": "mmedina",
"email": "mmedina@KQED.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Producer, Rightnowish Podcast",
"bio": "Marisol Medina-Cadena is a radio reporter and podcast producer. Before working at KQED, she produced for PBS member station, KCET, in Los Angeles. In 2017, Marisol won an Emmy Award for her work on the televised documentary, \u003cem>City Rising\u003c/em>, examining California's affordable housing crisis and the historical roots of gentrification.",
"avatar": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g",
"twitter": "marisolreports",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"edit_others_posts"
]
}
],
"headData": {
"title": "Marisol Medina-Cadena | KQED",
"description": "Producer, Rightnowish Podcast",
"ogImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mmedina"
},
"achazaro": {
"type": "authors",
"id": "11748",
"meta": {
"index": "authors_1716337520",
"id": "11748",
"found": true
},
"name": "Alan Chazaro",
"firstName": "Alan",
"lastName": "Chazaro",
"slug": "achazaro",
"email": "agchazaro@gmail.com",
"display_author_email": true,
"staff_mastheads": [],
"title": "Food Writer and Reporter",
"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
"avatar": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twitter": "alan_chazaro",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Alan Chazaro | KQED",
"description": "Food Writer and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/achazaro"
},
"aedwards": {
"type": "authors",
"id": "11801",
"meta": {
"index": "authors_1716337520",
"id": "11801",
"found": true
},
"name": "Amaya Edwards",
"firstName": "Amaya Nicole",
"lastName": "Edwards",
"slug": "aedwards",
"email": "aedwards@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/f5d39b025f433375f9fb2c91861c383a667382852273a3f70d610d8034145eca?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "amayaee",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Amaya Edwards | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/f5d39b025f433375f9fb2c91861c383a667382852273a3f70d610d8034145eca?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f5d39b025f433375f9fb2c91861c383a667382852273a3f70d610d8034145eca?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aedwards"
},
"crose": {
"type": "authors",
"id": "11808",
"meta": {
"index": "authors_1716337520",
"id": "11808",
"found": true
},
"name": "Corey Antonio Rose",
"firstName": "Corey Antonio",
"lastName": "Rose",
"slug": "crose",
"email": "crose@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Corey Antonio Rose (he/him/his) is an audio producer, reporter, and storyteller from Jacksonville, Florida. His work explores the intersections of Public Health, Culture, Education, and Race/Gender Justice. He’s produced content for KQED, The Poynter Institute, University of California Berkeley, and the Commonwealth Club of California.\r\n@CoreyARose",
"avatar": "https://secure.gravatar.com/avatar/83cdeb0866f12c5eb609d6283e9cc8da?s=600&d=blank&r=g",
"twitter": "CoreyARose",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
}
],
"headData": {
"title": "Corey Antonio Rose | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/83cdeb0866f12c5eb609d6283e9cc8da?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/83cdeb0866f12c5eb609d6283e9cc8da?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/crose"
}
},
"pagesReducer": {
"arts_tag_photography": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"score": 8.286039
},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"title": "photography",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 10
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=photography",
"seeMore": false,
"paginated": true,
"page": 10
}
},
{
"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_13920320": {
"type": "posts",
"id": "arts_13920320",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920320",
"score": null,
"sort": [
1665741657000
]
},
"guestAuthors": [],
"slug": "preserving-oakland-arts-and-culture-at-b-loves-guesthouse",
"title": "Preserving Oakland Arts and Culture at B-Love’s Guesthouse",
"publishDate": 1665741657,
"format": "audio",
"headTitle": "Preserving Oakland Arts and Culture at B-Love’s Guesthouse | KQED",
"labelTerm": {},
"content": "\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Picture Lady: Tales of the 90’s Girl\u003c/a>\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells the complex story of multiple generations of Black folks, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum \u003cem>and\u003c/em> a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cp>This week we take a tour of the property and walk down memory lane through her photos. If you’re interested after listening to this episode, you can take a \u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\">tour\u003c/a> too.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5621038255&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://bit.ly/3TiAwgf\">Read the transcript\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Traci Bartlow.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>Just a few blocks from the women of the Black Panther Party mural and West Oakland BART station is Traci Bartlow’s home and hotel, B-Love’s Guesthouse. It’s on a residential street with lots of history.\u003c/em>\u003c/p>\n\u003cp>Traci:\u003cspan style=\"font-weight: 400\"> I acquired the house in 2007 from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, through her family ownership, she acquired this house, this house on the corner. And in 1965, she had that apartment building around the corner built. On the lower level of the apartment building, she had Holmes Barber Shop. So Ms. Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. Her photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13891300']Traci: These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. She also sold Avon, and we had a little store in the back where you could buy candy and chips and sandwiches. I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> Even before she got into photography, Traci was already into the arts. At age 19, she was awarded a scholarship to study dance at the \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> in New York. After finishing the two-year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci: I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ \u003c/span>It was just like this natural progression of me knowing about photography and wanting to learn more. \u003cspan style=\"font-weight: 400\">I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Traci Bartlow's home is a showcase for her work and holds the history of her West Oakland neighborhood.",
"status": "publish",
"parent": 0,
"modified": 1726759255,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 956
},
"headData": {
"title": "Preserving Oakland Arts and Culture at B-Love’s Guesthouse | KQED",
"description": "Traci Bartlow's home is a showcase for her work and holds the history of her West Oakland neighborhood.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Preserving Oakland Arts and Culture at B-Love’s Guesthouse",
"datePublished": "2022-10-14T03:00:57-07:00",
"dateModified": "2024-09-19T08:20:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Rightnowish ",
"sourceUrl": "https://www.kqed.org/podcasts/rightnowish",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC5621038255.mp3?updated=1665703768",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13920320/preserving-oakland-arts-and-culture-at-b-loves-guesthouse",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Picture Lady: Tales of the 90’s Girl\u003c/a>\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells the complex story of multiple generations of Black folks, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum \u003cem>and\u003c/em> a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cp>This week we take a tour of the property and walk down memory lane through her photos. If you’re interested after listening to this episode, you can take a \u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\">tour\u003c/a> too.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5621038255&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://bit.ly/3TiAwgf\">Read the transcript\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Traci Bartlow.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>Just a few blocks from the women of the Black Panther Party mural and West Oakland BART station is Traci Bartlow’s home and hotel, B-Love’s Guesthouse. It’s on a residential street with lots of history.\u003c/em>\u003c/p>\n\u003cp>Traci:\u003cspan style=\"font-weight: 400\"> I acquired the house in 2007 from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, through her family ownership, she acquired this house, this house on the corner. And in 1965, she had that apartment building around the corner built. On the lower level of the apartment building, she had Holmes Barber Shop. So Ms. Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. Her photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891300",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Traci: These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. She also sold Avon, and we had a little store in the back where you could buy candy and chips and sandwiches. I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> Even before she got into photography, Traci was already into the arts. At age 19, she was awarded a scholarship to study dance at the \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> in New York. After finishing the two-year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci: I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ \u003c/span>It was just like this natural progression of me knowing about photography and wanting to learn more. \u003cspan style=\"font-weight: 400\">I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920320/preserving-oakland-arts-and-culture-at-b-loves-guesthouse",
"authors": [
"11491",
"11528"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_7862",
"arts_21759",
"arts_70"
],
"tags": [
"arts_18829",
"arts_4097",
"arts_831",
"arts_2640",
"arts_1143",
"arts_822",
"arts_2533"
],
"featImg": "arts_13920337",
"label": "source_arts_13920320"
},
"arts_13920345": {
"type": "posts",
"id": "arts_13920345",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920345",
"score": null,
"sort": [
1665695646000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1665695646,
"format": "standard",
"title": "Photo Exhibit Celebrates the Original Kasper's, a Unique Corner of Oakland History",
"headTitle": "Photo Exhibit Celebrates the Original Kasper’s, a Unique Corner of Oakland History | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">There aren’t many old-school, immigrant-built, onion-slinging hot dog spots left in Oakland. But for anyone who grew up \u003c/span>\u003cspan style=\"font-weight: 400\">in the East Bay, Kasper’s (along with \u003c/span>\u003ca href=\"https://themonthly.com/kilduff1904/\">\u003cspan style=\"font-weight: 400\">family rival business, Casper’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">) has long been an unrivaled hot dog institution — rugged and reliable, like the blue-collar workers it has fed throughout the years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And perhaps no other Kasper’s venue is as distinctly recognizable as the “Original Kasper’s” — a tiny, triangular outpost on 4521 Telegraph Ave. in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though the Temescal location closed its doors in 2003, it has remained as an iconic reminder of the area’s food and architectural history. Indeed, the uniquely located and oddly undersized flatiron building — originally a gas station — has endured for nearly two decades without any indication of what would happen next. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During that time, graffiti artists have turned it into a de facto outdoor gallery, nearby high-rise apartments have multiplied around it and rent prices in the zip code have skyrocketed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The history of the building itself isn’t hard to find, but the mystery of why the owner let it sit there for 14 years was intriguing,” says \u003c/span>\u003ca href=\"https://www.malcolmryder.com/\">\u003cspan style=\"font-weight: 400\">Malcolm Ryder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a local photographer who has documented the building’s transformation since 2015. “As time went by, I paid more attention. The changes became the subject matter.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What results from Ryder’s obsession is a photo exhibit, playfully titled \u003c/span>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> which will debut at the Oakland Public Library’s Temescal branch on Saturday, Oct. 15. Created in partnership with Oakland-based writer Constance Hale, the exhibit serves as an invitation for residents to engage with the many flavors and iterations of the iconic (and often neglected) Original Kasper’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920347\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg\" alt=\"a side profile of the oddly shaped flatiron Kasper's building shows the thin, graffiti-covered corner of the iconic Oakland building\" width=\"800\" height=\"1610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1020x2052.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-160x322.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-768x1545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-763x1536.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1018x2048.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-scaled.jpg 1272w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Original Kasper’s is known for its unique location and flatiron dimensions. \u003ccite>(Malcolm Ryder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The series of shots, which span roughly seven years, are part of “\u003c/span>\u003ca href=\"https://www.oaktown.pictures/\">\u003cspan style=\"font-weight: 400\">Oaktown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a macro project that Ryder is compiling to trace the evolution of local spaces and businesses in the city. By zooming in on the ghost of Kasper’s on Telegraph, he’s putting larger questions about politics, social access, homelessness and public space into focus.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his photographs, “Golden Arches,” is framed in a way that accentuates Kasper’s graffiti-splashed walls with a makeshift shelter of boxes and discarded materials on the side while the corporate symbol of a McDonald’s arch peeks out from across the street. From that angle, it’s hard to miss the discrepancy of economic realities and food access that has troubled Bay Area cities like Oakland in times of gentrification and residential displacement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13920137,arts_13918017,arts_13894423']The whole series reminds viewers that Kasper’s is more than a place that used to (and will soon again) serve hot dogs. It’s about connectivity to home, about representation and preservation, about feeding a sense of communal pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to honoring the longtime hot dog institution through a variety of poetic perspectives placed above the library’s bookshelves, the exhibit’s opening day event will include a slew of guests and hands-on activities. From Delency Parham (the \u003c/span>\u003ca href=\"https://soundcloud.com/hellablackpodcast\">\u003cspan style=\"font-weight: 400\">“Tales of the Town” podcast\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> maker of oral histories for Black Oaklanders) to \u003c/span>\u003ca href=\"https://www.commonsarchive.net/hearhere-community-billboard\">\u003cspan style=\"font-weight: 400\">Hear Here Community Billboard\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (a roving vintage truck that displays local information for North Oakland residents), visitors will not only get to see Ryder’s documentation of Kasper’s but will also interact with the neighborhood’s current influencers and tastemakers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Among the afternoon’s other highlights, a coloring book page of Kasper’s will be provided, allowing guests to interact with the building’s walls in the way graffiti artists have done in the past. And if those ingredients aren’t enough to appetize visitors, guests will have the chance to move actual pieces of the Kasper’s wall that were torn down for renovation and reassemble them, like a life-size jigsaw puzzle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We hope we can get others to pay more attention to what may otherwise be perceived as blight or vandalism and to see the stories of those who have lived or eaten here,” Hale says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920348\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg\" alt=\"exhibit organizers, Connie Hale (left) and Malcolm Ryder (right), stand proudly in front of the current Kasper's building in Oakland\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Hale (left) and Malcolm Ryder (right) stand in front of Original Kasper’s on Telegraph Ave. in Oakland. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though exhibit organizers Ryder and Hale hoped to get Kasper’s hot dogs served at the event, they were unable to convince Kasper’s to supply the goods. Fans of the local chain can look forward to an even better consolation prize, however: The Temescal Kasper’s will reopen later this fall under the ownership of John and Vince Traverso, two brothers who own and operate \u003c/span>\u003ca href=\"https://sf.eater.com/2015/1/13/7540931/kingfish-pub-oakland-moving-video\">\u003cspan style=\"font-weight: 400\">the relocated Kingfish Pub\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a few blocks away.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want to keep it as original as possible with an updated code in the 21st century,” John Traverso tells me while serving an IPA at the nearby pub.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reopened North Oakland venue will be the fifth Kasper’s in the Bay, with other locations in East Oakland, San Lorenzo, Castro Valley and Concord.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once that moment arrives, I know my wife—a lifetime Kasper’s and Casper’s loyalist—and I will be among the first in line to get served.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/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>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will debut at the Oakland Public Library Temescal Branch (5205 Telegraph Ave., Oakland) on Saturday, Oct. 15 from 2 to 6 p.m. The photos will be on display until Jan. 15. Free.\u003c/span>\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 974,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705006273,
"excerpt": "As the iconic hot dog shop prepares to reopen, photographer Malcolm Ryder documents the evolution of the building and the neighborhood around it.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As the iconic hot dog shop prepares to reopen, photographer Malcolm Ryder documents the evolution of the building and the neighborhood around it.",
"title": "Photo Exhibit Celebrates the Original Kasper's, a Unique Corner of Oakland History | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Photo Exhibit Celebrates the Original Kasper's, a Unique Corner of Oakland History",
"datePublished": "2022-10-13T14:14:06-07:00",
"dateModified": "2024-01-11T12:51:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kaspers-hot-dogs-photo-exhibit-oakland-reopening-malcolm-ryder",
"status": "publish",
"sourceUrl": "https://www.kqed.org/food",
"excludeFromSiteSearch": "Include",
"sticky": false,
"source": "Food",
"path": "/arts/13920345/kaspers-hot-dogs-photo-exhibit-oakland-reopening-malcolm-ryder",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">There aren’t many old-school, immigrant-built, onion-slinging hot dog spots left in Oakland. But for anyone who grew up \u003c/span>\u003cspan style=\"font-weight: 400\">in the East Bay, Kasper’s (along with \u003c/span>\u003ca href=\"https://themonthly.com/kilduff1904/\">\u003cspan style=\"font-weight: 400\">family rival business, Casper’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">) has long been an unrivaled hot dog institution — rugged and reliable, like the blue-collar workers it has fed throughout the years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And perhaps no other Kasper’s venue is as distinctly recognizable as the “Original Kasper’s” — a tiny, triangular outpost on 4521 Telegraph Ave. in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though the Temescal location closed its doors in 2003, it has remained as an iconic reminder of the area’s food and architectural history. Indeed, the uniquely located and oddly undersized flatiron building — originally a gas station — has endured for nearly two decades without any indication of what would happen next. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During that time, graffiti artists have turned it into a de facto outdoor gallery, nearby high-rise apartments have multiplied around it and rent prices in the zip code have skyrocketed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The history of the building itself isn’t hard to find, but the mystery of why the owner let it sit there for 14 years was intriguing,” says \u003c/span>\u003ca href=\"https://www.malcolmryder.com/\">\u003cspan style=\"font-weight: 400\">Malcolm Ryder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a local photographer who has documented the building’s transformation since 2015. “As time went by, I paid more attention. The changes became the subject matter.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What results from Ryder’s obsession is a photo exhibit, playfully titled \u003c/span>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> which will debut at the Oakland Public Library’s Temescal branch on Saturday, Oct. 15. Created in partnership with Oakland-based writer Constance Hale, the exhibit serves as an invitation for residents to engage with the many flavors and iterations of the iconic (and often neglected) Original Kasper’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920347\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg\" alt=\"a side profile of the oddly shaped flatiron Kasper's building shows the thin, graffiti-covered corner of the iconic Oakland building\" width=\"800\" height=\"1610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1020x2052.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-160x322.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-768x1545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-763x1536.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1018x2048.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-scaled.jpg 1272w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Original Kasper’s is known for its unique location and flatiron dimensions. \u003ccite>(Malcolm Ryder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The series of shots, which span roughly seven years, are part of “\u003c/span>\u003ca href=\"https://www.oaktown.pictures/\">\u003cspan style=\"font-weight: 400\">Oaktown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a macro project that Ryder is compiling to trace the evolution of local spaces and businesses in the city. By zooming in on the ghost of Kasper’s on Telegraph, he’s putting larger questions about politics, social access, homelessness and public space into focus.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his photographs, “Golden Arches,” is framed in a way that accentuates Kasper’s graffiti-splashed walls with a makeshift shelter of boxes and discarded materials on the side while the corporate symbol of a McDonald’s arch peeks out from across the street. From that angle, it’s hard to miss the discrepancy of economic realities and food access that has troubled Bay Area cities like Oakland in times of gentrification and residential displacement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920137,arts_13918017,arts_13894423",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The whole series reminds viewers that Kasper’s is more than a place that used to (and will soon again) serve hot dogs. It’s about connectivity to home, about representation and preservation, about feeding a sense of communal pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to honoring the longtime hot dog institution through a variety of poetic perspectives placed above the library’s bookshelves, the exhibit’s opening day event will include a slew of guests and hands-on activities. From Delency Parham (the \u003c/span>\u003ca href=\"https://soundcloud.com/hellablackpodcast\">\u003cspan style=\"font-weight: 400\">“Tales of the Town” podcast\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> maker of oral histories for Black Oaklanders) to \u003c/span>\u003ca href=\"https://www.commonsarchive.net/hearhere-community-billboard\">\u003cspan style=\"font-weight: 400\">Hear Here Community Billboard\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (a roving vintage truck that displays local information for North Oakland residents), visitors will not only get to see Ryder’s documentation of Kasper’s but will also interact with the neighborhood’s current influencers and tastemakers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Among the afternoon’s other highlights, a coloring book page of Kasper’s will be provided, allowing guests to interact with the building’s walls in the way graffiti artists have done in the past. And if those ingredients aren’t enough to appetize visitors, guests will have the chance to move actual pieces of the Kasper’s wall that were torn down for renovation and reassemble them, like a life-size jigsaw puzzle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We hope we can get others to pay more attention to what may otherwise be perceived as blight or vandalism and to see the stories of those who have lived or eaten here,” Hale says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920348\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg\" alt=\"exhibit organizers, Connie Hale (left) and Malcolm Ryder (right), stand proudly in front of the current Kasper's building in Oakland\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Hale (left) and Malcolm Ryder (right) stand in front of Original Kasper’s on Telegraph Ave. in Oakland. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though exhibit organizers Ryder and Hale hoped to get Kasper’s hot dogs served at the event, they were unable to convince Kasper’s to supply the goods. Fans of the local chain can look forward to an even better consolation prize, however: The Temescal Kasper’s will reopen later this fall under the ownership of John and Vince Traverso, two brothers who own and operate \u003c/span>\u003ca href=\"https://sf.eater.com/2015/1/13/7540931/kingfish-pub-oakland-moving-video\">\u003cspan style=\"font-weight: 400\">the relocated Kingfish Pub\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a few blocks away.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want to keep it as original as possible with an updated code in the 21st century,” John Traverso tells me while serving an IPA at the nearby pub.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reopened North Oakland venue will be the fifth Kasper’s in the Bay, with other locations in East Oakland, San Lorenzo, Castro Valley and Concord.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once that moment arrives, I know my wife—a lifetime Kasper’s and Casper’s loyalist—and I will be among the first in line to get served.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/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>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will debut at the Oakland Public Library Temescal Branch (5205 Telegraph Ave., Oakland) on Saturday, Oct. 15 from 2 to 6 p.m. The photos will be on display until Jan. 15. Free.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920345/kaspers-hot-dogs-photo-exhibit-oakland-reopening-malcolm-ryder",
"authors": [
"11748"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276",
"arts_70"
],
"tags": [
"arts_4178",
"arts_10278",
"arts_1297",
"arts_1143",
"arts_822",
"arts_585"
],
"featImg": "arts_13920346",
"label": "source_arts_13920345"
},
"arts_13920049": {
"type": "posts",
"id": "arts_13920049",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920049",
"score": null,
"sort": [
1665136850000
]
},
"guestAuthors": [],
"slug": "sydney-welchs-photography-features-the-latest-wave-of-bay-area-talent",
"title": "Sydney Welch’s Photography Features the Latest Wave of Bay Area Talent",
"publishDate": 1665136850,
"format": "audio",
"headTitle": "Sydney Welch’s Photography Features the Latest Wave of Bay Area Talent | KQED",
"labelTerm": {
"term": 8720,
"site": "arts"
},
"content": "\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>East Bay photographer\u003ca href=\"https://www.instagram.com/iamsydneywelch/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sydney Welch \u003c/a>has compiled a collection of photos that serve as a highlight reel for the latest wave of talented hip-hop and R&B artists emerging from the Bay Area, including Stunnaman02, LaRussell, Kehlani, P-Lo, Su’Lan, Larry June, and Rexx Life Raj.\u003c/p>\n\u003cp>And that doesn’t even scratch the surface of her portfolio. Her collection is like a stack of baseball cards, full of rare rookies.\u003c/p>\n\u003cp>\u003ca href=\"https://shotsbysydney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Her images\u003c/a> are captured at concerts, showing artists rocking the crowd or having an intimate moment backstage. She has Polaroid photos taken at parties and magazine-style portraits shot on film.\u003c/p>\n\u003cp>Most importantly: Sydney’s images aren’t taken from an outsider perspective. Before becoming a professional photographer, Sydney was a regular at local Bay Area hip-hop and R&B shows, supporting talent on the rise.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcTciaovReR/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Sydney grew up in Fremont and after studying journalism in high school and at San Francisco State University, Sydney is now behind the camera at concerts and community gatherings. She’s often seen with multiple cameras strapped to her person, in full shooter mode.\u003c/p>\n\u003cp>This week Sydney Welch tells us about her ultimate professional goals, how she relies on grace to navigate the notoriously treacherous music industry, and why she’s so passionate about representing the Bay through photos of the artists who are currently providing the soundtrack of our time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8682552209&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the podcast \u003ca href=\"https://drive.google.com/file/d/106v47Lh3QrtzMyu7DpLCpiMuiyeS2I5Z/view?usp=sharing\">transcript\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Welch.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Back in May of this year, I bumped into Sydney at an event thrown by Oakland based non-profit Urban Peace Movement. \u003c/em>\u003cem>In the crowd of a couple hundred people gathered around Lake Merritt’s bandstand, there was Sydney: moving through the crowd, with three cameras strapped to her person. I had my handy-dandy digital camera on me. But Sydney? She was in full-blown shooter mode.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: Film has always been my favorite form of photography. \u003c/span>\u003cspan style=\"font-weight: 400\">It just gives like that historic, like that dope vibe. \u003c/span>\u003cspan style=\"font-weight: 400\">When I was in high school, I literally shot with the film camera before I shot with a digital camera. So I was in a dark room with my teachers at lunch time. Growing up my mom was a photographer as well.\u003c/span> \u003cspan style=\"font-weight: 400\">She did film photography on the side, she always had her camera on her. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: In her junior year of high school, Sydney landed an internship with the San Jose Mercury News as a writer and photographer. It was her formal introduction to the industry.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: But also during that time in high school, I was really in music a lot. Like I was listening to HBK a lot. Kehlani, G-Eazy, literally every Bay Area artist. And so that really gave me a big, sort of inspiration, I feel like, to where I am today. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg\" alt=\"Photographer Sydney Welch in action.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044.jpeg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sydney Welch in action. \u003ccite>(Joshua Lee Kennedy/@Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: There’s a big variable behind this, it’s you and your identity as a Black woman. What does that bring to the table? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: That really just brings my voice, you know, not being afraid to really express who I am through my work, but to also, you know, inspire another Black person like myself to get out of their comfort zone and to try something new, no matter how scary it may seem or how intimidating it may seem. \u003c/span>\u003cspan style=\"font-weight: 400\">Sometimes with like, you know, people’s intentions and stuff like that, you have to be on your guard more than ever, especially being a Black woman. Like people will try you. They will try you, especially if you’re good looking as well. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s like, ‘I’m here to work. If you can’t respect me working, then I’m not working with you ever again.’ Like, it’s, it’s that serious. \u003c/span>\u003cspan style=\"font-weight: 400\"> I will just never, you know, dim myself and disrespect myself to make somebody else comfortable.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What story do your photos tell? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sydney:\u003c/em> My photos tell history. They tell passion. They tell art. Some may tell struggle, but you may not see that in your perspective. But also, just like they show love too, you know, I hope my photos tell the love that I have for the Bay Area.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Fremont photographer Sydney Welch brings her love of music and the Bay Area to her work. ",
"status": "publish",
"parent": 0,
"modified": 1726759262,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 826
},
"headData": {
"title": "Sydney Welch’s Photography Features the Latest Wave of Bay Area Talent | KQED",
"description": "Fremont photographer Sydney Welch brings her love of music and the Bay Area to her work. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sydney Welch’s Photography Features the Latest Wave of Bay Area Talent",
"datePublished": "2022-10-07T03:00:50-07:00",
"dateModified": "2024-09-19T08:21:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC8682552209.mp3?updated=1665101082",
"sticky": false,
"excludeFromSiteSearch": "Include",
"path": "/arts/13920049/sydney-welchs-photography-features-the-latest-wave-of-bay-area-talent",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>East Bay photographer\u003ca href=\"https://www.instagram.com/iamsydneywelch/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sydney Welch \u003c/a>has compiled a collection of photos that serve as a highlight reel for the latest wave of talented hip-hop and R&B artists emerging from the Bay Area, including Stunnaman02, LaRussell, Kehlani, P-Lo, Su’Lan, Larry June, and Rexx Life Raj.\u003c/p>\n\u003cp>And that doesn’t even scratch the surface of her portfolio. Her collection is like a stack of baseball cards, full of rare rookies.\u003c/p>\n\u003cp>\u003ca href=\"https://shotsbysydney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Her images\u003c/a> are captured at concerts, showing artists rocking the crowd or having an intimate moment backstage. She has Polaroid photos taken at parties and magazine-style portraits shot on film.\u003c/p>\n\u003cp>Most importantly: Sydney’s images aren’t taken from an outsider perspective. Before becoming a professional photographer, Sydney was a regular at local Bay Area hip-hop and R&B shows, supporting talent on the rise.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CcTciaovReR/?utm_source=ig_web_copy_link"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sydney grew up in Fremont and after studying journalism in high school and at San Francisco State University, Sydney is now behind the camera at concerts and community gatherings. She’s often seen with multiple cameras strapped to her person, in full shooter mode.\u003c/p>\n\u003cp>This week Sydney Welch tells us about her ultimate professional goals, how she relies on grace to navigate the notoriously treacherous music industry, and why she’s so passionate about representing the Bay through photos of the artists who are currently providing the soundtrack of our time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8682552209&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the podcast \u003ca href=\"https://drive.google.com/file/d/106v47Lh3QrtzMyu7DpLCpiMuiyeS2I5Z/view?usp=sharing\">transcript\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Welch.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Back in May of this year, I bumped into Sydney at an event thrown by Oakland based non-profit Urban Peace Movement. \u003c/em>\u003cem>In the crowd of a couple hundred people gathered around Lake Merritt’s bandstand, there was Sydney: moving through the crowd, with three cameras strapped to her person. I had my handy-dandy digital camera on me. But Sydney? She was in full-blown shooter mode.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: Film has always been my favorite form of photography. \u003c/span>\u003cspan style=\"font-weight: 400\">It just gives like that historic, like that dope vibe. \u003c/span>\u003cspan style=\"font-weight: 400\">When I was in high school, I literally shot with the film camera before I shot with a digital camera. So I was in a dark room with my teachers at lunch time. Growing up my mom was a photographer as well.\u003c/span> \u003cspan style=\"font-weight: 400\">She did film photography on the side, she always had her camera on her. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: In her junior year of high school, Sydney landed an internship with the San Jose Mercury News as a writer and photographer. It was her formal introduction to the industry.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: But also during that time in high school, I was really in music a lot. Like I was listening to HBK a lot. Kehlani, G-Eazy, literally every Bay Area artist. And so that really gave me a big, sort of inspiration, I feel like, to where I am today. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg\" alt=\"Photographer Sydney Welch in action.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044.jpeg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sydney Welch in action. \u003ccite>(Joshua Lee Kennedy/@Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: There’s a big variable behind this, it’s you and your identity as a Black woman. What does that bring to the table? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: That really just brings my voice, you know, not being afraid to really express who I am through my work, but to also, you know, inspire another Black person like myself to get out of their comfort zone and to try something new, no matter how scary it may seem or how intimidating it may seem. \u003c/span>\u003cspan style=\"font-weight: 400\">Sometimes with like, you know, people’s intentions and stuff like that, you have to be on your guard more than ever, especially being a Black woman. Like people will try you. They will try you, especially if you’re good looking as well. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s like, ‘I’m here to work. If you can’t respect me working, then I’m not working with you ever again.’ Like, it’s, it’s that serious. \u003c/span>\u003cspan style=\"font-weight: 400\"> I will just never, you know, dim myself and disrespect myself to make somebody else comfortable.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What story do your photos tell? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sydney:\u003c/em> My photos tell history. They tell passion. They tell art. Some may tell struggle, but you may not see that in your perspective. But also, just like they show love too, you know, I hope my photos tell the love that I have for the Bay Area.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920049/sydney-welchs-photography-features-the-latest-wave-of-bay-area-talent",
"authors": [
"11491",
"11528",
"11808"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_69",
"arts_21759",
"arts_70"
],
"tags": [
"arts_1331",
"arts_7496",
"arts_831",
"arts_822",
"arts_9510"
],
"featImg": "arts_13920070",
"label": "arts_8720"
},
"arts_13920105": {
"type": "posts",
"id": "arts_13920105",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920105",
"score": null,
"sort": [
1665091317000
]
},
"guestAuthors": [],
"slug": "celebrating-sunset-seaside-drag-at-baker-beach",
"title": "Celebrating Sunset Seaside Drag at Baker Beach",
"publishDate": 1665091317,
"format": "standard",
"headTitle": "Celebrating Sunset Seaside Drag at Baker Beach | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>It doesn’t get much more gloriously San Francisco than this: as the sun slowly sets with the Golden Gate Bridge in the background, two drag performers elicit whoops and cheers to the tune of Kate Bush’s “Running Up That Hill.” It’s \u003ca href=\"https://www.goldenhourdrag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Hour Drag\u003c/a>, a show that takes place every Friday, Saturday and Sunday at Baker Beach.\u003c/p>\n\u003cp>Hosted by a rotating cast of local drag luminaries, including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>, \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a>, \u003ca href=\"https://www.instagram.com/yourdeadsister/\" target=\"_blank\" rel=\"noopener noreferrer\">Die Anna\u003c/a>, \u003ca href=\"https://www.instagram.com/veritas_22/\" target=\"_blank\" rel=\"noopener noreferrer\">Vera!\u003c/a> and “sand witch” \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Syzygy\u003c/a>, Golden Hour stages drag shows against one of the most stunning settings the Bay Area has to offer, and gives it a run for its money.\u003c/p>\n\u003cfigure id=\"attachment_13920110\" class=\"wp-caption aligncenter\" style=\"max-width: 1128px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GoldenHourFlag.jpeg\" alt=\"Flag on beach with image of drag performer, Golden Gate Bridge behind\" width=\"1128\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag.jpeg 1128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-768x576.jpeg 768w\" sizes=\"(max-width: 1128px) 100vw, 1128px\">\u003cfigcaption class=\"wp-caption-text\">Wojack’s photographs will join the performances that inspired them for three shows. \u003ccite>(Courtesy Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For shows on Oct. 8, Oct. 16 and Oct. 21, an added layer of artistry joins the sunset seaside performances. San Francisco photographer \u003ca href=\"https://aaronwojack.com/GoldenHour\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Wojack\u003c/a> started documenting the scene’s artists and their audiences in the before-times, capturing the neon hues of the sky, incredible costumes and moments of drama as the fog rolled in.\u003c/p>\n\u003cp>Now he’s presenting a selection of these images as a half-dozen flags alongside three October shows, the first of which is hosted by \u003ca href=\"https://www.instagram.com/iamtranslucent/\" target=\"_blank\" rel=\"noopener noreferrer\">TRANSLUCENT\u003c/a> and features \u003ca href=\"https://www.instagram.com/bratalie33/\" target=\"_blank\" rel=\"noopener noreferrer\">Kitty Litter\u003c/a> at Lobos Creek. Wojack recommends viewers bring a jacket, something to sit on and their own desired refreshments. And of course, they should have cash or Venmo ready (it’s a drag show, after all).\u003c/p>\n\u003cp>\u003cem>Golden Hour Drag takes place every Friday at the Baker Beach Sand Ladder, and Saturdays and Sundays at Lobos Creek. Shows take place 3–6:30 p.m., with performances starting at 5:30 p.m. \u003ca href=\"https://www.goldenhourdrag.com/shows\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Dramatic photos of past performances join Golden Hour Drag for three October dates.",
"status": "publish",
"parent": 0,
"modified": 1726700617,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 296
},
"headData": {
"title": "Celebrating Sunset Seaside Drag at Baker Beach | KQED",
"description": "Dramatic photos of past performances join Golden Hour Drag for three October dates.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Celebrating Sunset Seaside Drag at Baker Beach",
"datePublished": "2022-10-06T14:21:57-07:00",
"dateModified": "2024-09-18T16:03:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13920105/celebrating-sunset-seaside-drag-at-baker-beach",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It doesn’t get much more gloriously San Francisco than this: as the sun slowly sets with the Golden Gate Bridge in the background, two drag performers elicit whoops and cheers to the tune of Kate Bush’s “Running Up That Hill.” It’s \u003ca href=\"https://www.goldenhourdrag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Hour Drag\u003c/a>, a show that takes place every Friday, Saturday and Sunday at Baker Beach.\u003c/p>\n\u003cp>Hosted by a rotating cast of local drag luminaries, including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>, \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a>, \u003ca href=\"https://www.instagram.com/yourdeadsister/\" target=\"_blank\" rel=\"noopener noreferrer\">Die Anna\u003c/a>, \u003ca href=\"https://www.instagram.com/veritas_22/\" target=\"_blank\" rel=\"noopener noreferrer\">Vera!\u003c/a> and “sand witch” \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Syzygy\u003c/a>, Golden Hour stages drag shows against one of the most stunning settings the Bay Area has to offer, and gives it a run for its money.\u003c/p>\n\u003cfigure id=\"attachment_13920110\" class=\"wp-caption aligncenter\" style=\"max-width: 1128px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GoldenHourFlag.jpeg\" alt=\"Flag on beach with image of drag performer, Golden Gate Bridge behind\" width=\"1128\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag.jpeg 1128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-768x576.jpeg 768w\" sizes=\"(max-width: 1128px) 100vw, 1128px\">\u003cfigcaption class=\"wp-caption-text\">Wojack’s photographs will join the performances that inspired them for three shows. \u003ccite>(Courtesy Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For shows on Oct. 8, Oct. 16 and Oct. 21, an added layer of artistry joins the sunset seaside performances. San Francisco photographer \u003ca href=\"https://aaronwojack.com/GoldenHour\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Wojack\u003c/a> started documenting the scene’s artists and their audiences in the before-times, capturing the neon hues of the sky, incredible costumes and moments of drama as the fog rolled in.\u003c/p>\n\u003cp>Now he’s presenting a selection of these images as a half-dozen flags alongside three October shows, the first of which is hosted by \u003ca href=\"https://www.instagram.com/iamtranslucent/\" target=\"_blank\" rel=\"noopener noreferrer\">TRANSLUCENT\u003c/a> and features \u003ca href=\"https://www.instagram.com/bratalie33/\" target=\"_blank\" rel=\"noopener noreferrer\">Kitty Litter\u003c/a> at Lobos Creek. Wojack recommends viewers bring a jacket, something to sit on and their own desired refreshments. And of course, they should have cash or Venmo ready (it’s a drag show, after all).\u003c/p>\n\u003cp>\u003cem>Golden Hour Drag takes place every Friday at the Baker Beach Sand Ladder, and Saturdays and Sundays at Lobos Creek. Shows take place 3–6:30 p.m., with performances starting at 5:30 p.m. \u003ca href=\"https://www.goldenhourdrag.com/shows\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920105/celebrating-sunset-seaside-drag-at-baker-beach",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_1556",
"arts_822",
"arts_585"
],
"featImg": "arts_13920120",
"label": "arts_140"
},
"arts_13916039": {
"type": "posts",
"id": "arts_13916039",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13916039",
"score": null,
"sort": [
1657744793000
]
},
"guestAuthors": [],
"slug": "kk-brinson-black-cowgirl-oakland-bill-pickett",
"title": "KK Brinson, a Black Cowgirl from Oakland, Gets Ready for Her Comeback",
"publishDate": 1657744793,
"format": "standard",
"headTitle": "KK Brinson, a Black Cowgirl from Oakland, Gets Ready for Her Comeback | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.instagram.com/kk.t.b.r_/\" target=\"_blank\" rel=\"noopener noreferrer\">KK Brinson\u003c/a> was just nine years old when she rode her first horse. “I was just a girl that rode, and was a trail rider that would go down to the beach all the time in Daly City, California and, you know, just ride her horse recklessly,” Brinson says with a laugh, “but it taught me well.”\u003c/p>\n\u003cp>After that first ride—and thanks to her grandmother, who nurtured her passion—Brinson never looked back. Today, she’s a barrel racer who has won various competitions throughout Northern California. (Barrel racing, on a professional level, is an all-women rodeo event in which cowgirls have to race around three barrels in a cloverleaf pattern. The fastest rider wins.)\u003c/p>\n\u003cp>Last weekend on July 9 and 10, Brinson competed at the \u003ca href=\"https://www.billpickettrodeo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Pickett Invitational Rodeo\u003c/a> (BPIR). William “Bill” Pickett was born in 1870 in Taylor, Texas. He invented the specialty rodeo event “bulldogging,” also known as steer wrestling, and is one of the most well known Black cowboys in American history. The touring event named in his honor celebrates Black cowboy culture around the country.\u003c/p>\n\u003cp>Participating in another BPIR feels like a homecoming for Brinson, making it even more important to “show up and show out.”\u003c/p>\n\u003cp>“When I was 13, that was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to,” Brinson says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Excitement filled the air at Rowell Ranch Rodeo in Castro Valley this Sunday, where the BPIR made its 38th return to the Bay Area. After a two-year absence due to the pandemic, this year’s show just so happens to coincide with what Brinson considers her comeback year.\u003c/p>\n\u003cp>“As far as my comeback year, it’s just like, I’ve done bad in the past and I think this time I have a good chance of winning some money, at least, you know,” Brinson says. “So it’s like, I want to come back for myself. I don’t want to do it for show or for everybody else to prove a point.”\u003c/p>\n\u003cp>For Brinson, making a comeback is a lot deeper than just winning a barrel racing competition. Building deep bonds with her horses and working with them every day is what matters. Her goal is to turn her two green horses into finished ones who’ve completed their training and are ready to compete. Taking Kairo, a 12-year-old Sorrel American Quarter horse, to actually race for the first time at a rodeo is a win as far as she’s concerned.\u003c/p>\n\u003cfigure id=\"attachment_13916024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson runs drills with Kairo on June 16, 2022 in Pleasanton. With all the moving pieces that come with being a cowgirl, Brinson manages stressful moments by giving herself a break from the ranch for a few days before returning. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brinson built herself and her horses from the ground up. She never really had lessons or training; it was through YouTube that she even learned about professional barrel racing.\u003c/p>\n\u003cp>Brinson often describes how she can be wearing a pair of Jordans in Oakland, where she lives, one day, and a pair of cowgirl boots at practice in Pleasanton the next. Balancing city life with country life. She wants this to be a reality for other young Black women.\u003c/p>\n\u003cp>Having such an iconic rodeo come to the Bay Area is vital because, as Brinson puts it, she’s met some Black people who haven’t been to a Black rodeo, or even a rodeo at all.\u003c/p>\n\u003cp>“They will take that memory and it will live in their heads all their life,” Brinson explains. “Especially if it’s your first experience.”\u003c/p>\n\u003cfigure id=\"attachment_13916026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rests with Galaxii inbetween practice on June 16, 2022 in Pleasanton. Brinson got Galaxii as a fresh horse with no rodeo training. “He was green, he was fresh. He didn’t know anything, he didn’t know where his feet was … he knew his speed but he didn’t know how to control it,” Brinson says. She has worked with him almost daily since then with the goal of having him finished all by herself. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s evident that people recognize how much time and energy she puts into perfecting her skills. On Sunday after her race, young Black children came up to Brinson for pictures, hugs and autographs. She uses her position to be a role model.\u003c/p>\n\u003cp>“I feel like it’s a good representation of leadership, being accountable of my doings. It’s a good representation that all Black people are not negative,” says Brinson.\u003c/p>\n\u003cp>Although Brinson wasn’t thrilled about her run this weekend, finishing with a time of 20.6 seconds on Sunday, she knows that she can’t always win. The important thing was getting her skills down right in unison with Kairo. She took pride in Kairo keeping her safe and doing his best.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My [goal], I want to say, is to become the first African American woman to be in the National Finals Rodeo,” Brinson says. “I want to at least say, ‘I did it. I conquered, let’s go get some more.’”\u003c/p>\n\u003cfigure id=\"attachment_13916022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops for some supplies on June 16, 2022 in Pleasanton. “We pay for dental work, vet bills, clothing, accessories like bits and saddles, the trailer, the truck, all that … it’s a lot, it’s expensive. It’s not like in your regular city budget,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops with her mom for supplies on June 16, 2022 in Pleasanton. “My mom is a single parent who raised me all my life. She’s taken care of me, she’s taken care of my horses,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson feeds Kairo on June 16, 2022 in Pleasanton. Kairo struggles with anxiety and scares easily. “But he’s been improving, you know, been getting close to checks and winning. So, hard work pays off,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson does some maintenance on Kairo’s shoes before taking him into the arena to practice on June 16, 2022 in Pleasanton. “Finishing” Kairo is one of Brinson’s main goals as a cowgirl and a way for her to build up her legacy. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rinses Kairo off after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. Kairo was a healer before becoming Brinson’s barrel race horse, so he was considered totally “green.” \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson waits with Kairo as he hydrates after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. A jackpot race, different from the rodeo barrel racing event, is a divisional event with extra added money. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson talks with one of her mentors, Sam Styles, after competing in a jackpot race on May 15, 2022 in Brentwood. Brinson started barrel racing when she was 13 years old. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916029\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rides into the arena with the rest of the cowboys and cowgirls for the Grand Entry of the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. The Oakland BPIR is the first rodeo Brinson ever attended, and she’s gone back every year since. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-2048x1374.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1920x1288.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg\" alt=\"\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson rode her horse Kairo and they finished with time of 20.6 seconds; the lower the time, the more likely a contestant will win the prize. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916028\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the Black National Anthem plays, a cowgirl rides around the center arena holding the Pan-African flag at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. This has been a tradition at the BPIR every year. It speaks to the rich history and endless contributions Black people have given to this country, especially within cowboy culture. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg\" alt=\"\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1536x1043.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodeo fans watch performances at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. BPIR is the only touring Black rodeo in the country, stopping in the East Bay for the past 38 years. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson during the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley, CA. Brinson rode her horse Kairo; it was his first rodeo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson catches up with family and friends after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. They were thrilled to see her, asking for autographs, photographs and hugs.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson shared that her path as a city cowgirl can get lonely sometimes. “But I do like the fact that I am kind of the face of the representation of barrel racing in the Black community, and I will always love to teach one and pass it on,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg\" alt=\"\" width=\"800\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-768x1162.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for a portrait after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. “That was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to … So it’s kind of like if you leave home and you come back to home, you know, you gotta show up and show out. Like, I have to go back to that every year,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
"blocks": [],
"excerpt": "The barrel racer competed at the Bill Pickett Invitational Rodeo, the only touring Black rodeo in the country.",
"status": "publish",
"parent": 0,
"modified": 1726759400,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1738
},
"headData": {
"title": "KK Brinson, a Black Cowgirl from Oakland, Gets Ready for Her Comeback | KQED",
"description": "The barrel racer competed at the Bill Pickett Invitational Rodeo, the only touring Black rodeo in the country.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "KK Brinson, a Black Cowgirl from Oakland, Gets Ready for Her Comeback",
"datePublished": "2022-07-13T13:39:53-07:00",
"dateModified": "2024-09-19T08:23:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13916039/kk-brinson-black-cowgirl-oakland-bill-pickett",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/kk.t.b.r_/\" target=\"_blank\" rel=\"noopener noreferrer\">KK Brinson\u003c/a> was just nine years old when she rode her first horse. “I was just a girl that rode, and was a trail rider that would go down to the beach all the time in Daly City, California and, you know, just ride her horse recklessly,” Brinson says with a laugh, “but it taught me well.”\u003c/p>\n\u003cp>After that first ride—and thanks to her grandmother, who nurtured her passion—Brinson never looked back. Today, she’s a barrel racer who has won various competitions throughout Northern California. (Barrel racing, on a professional level, is an all-women rodeo event in which cowgirls have to race around three barrels in a cloverleaf pattern. The fastest rider wins.)\u003c/p>\n\u003cp>Last weekend on July 9 and 10, Brinson competed at the \u003ca href=\"https://www.billpickettrodeo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Pickett Invitational Rodeo\u003c/a> (BPIR). William “Bill” Pickett was born in 1870 in Taylor, Texas. He invented the specialty rodeo event “bulldogging,” also known as steer wrestling, and is one of the most well known Black cowboys in American history. The touring event named in his honor celebrates Black cowboy culture around the country.\u003c/p>\n\u003cp>Participating in another BPIR feels like a homecoming for Brinson, making it even more important to “show up and show out.”\u003c/p>\n\u003cp>“When I was 13, that was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to,” Brinson says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Excitement filled the air at Rowell Ranch Rodeo in Castro Valley this Sunday, where the BPIR made its 38th return to the Bay Area. After a two-year absence due to the pandemic, this year’s show just so happens to coincide with what Brinson considers her comeback year.\u003c/p>\n\u003cp>“As far as my comeback year, it’s just like, I’ve done bad in the past and I think this time I have a good chance of winning some money, at least, you know,” Brinson says. “So it’s like, I want to come back for myself. I don’t want to do it for show or for everybody else to prove a point.”\u003c/p>\n\u003cp>For Brinson, making a comeback is a lot deeper than just winning a barrel racing competition. Building deep bonds with her horses and working with them every day is what matters. Her goal is to turn her two green horses into finished ones who’ve completed their training and are ready to compete. Taking Kairo, a 12-year-old Sorrel American Quarter horse, to actually race for the first time at a rodeo is a win as far as she’s concerned.\u003c/p>\n\u003cfigure id=\"attachment_13916024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson runs drills with Kairo on June 16, 2022 in Pleasanton. With all the moving pieces that come with being a cowgirl, Brinson manages stressful moments by giving herself a break from the ranch for a few days before returning. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brinson built herself and her horses from the ground up. She never really had lessons or training; it was through YouTube that she even learned about professional barrel racing.\u003c/p>\n\u003cp>Brinson often describes how she can be wearing a pair of Jordans in Oakland, where she lives, one day, and a pair of cowgirl boots at practice in Pleasanton the next. Balancing city life with country life. She wants this to be a reality for other young Black women.\u003c/p>\n\u003cp>Having such an iconic rodeo come to the Bay Area is vital because, as Brinson puts it, she’s met some Black people who haven’t been to a Black rodeo, or even a rodeo at all.\u003c/p>\n\u003cp>“They will take that memory and it will live in their heads all their life,” Brinson explains. “Especially if it’s your first experience.”\u003c/p>\n\u003cfigure id=\"attachment_13916026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rests with Galaxii inbetween practice on June 16, 2022 in Pleasanton. Brinson got Galaxii as a fresh horse with no rodeo training. “He was green, he was fresh. He didn’t know anything, he didn’t know where his feet was … he knew his speed but he didn’t know how to control it,” Brinson says. She has worked with him almost daily since then with the goal of having him finished all by herself. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s evident that people recognize how much time and energy she puts into perfecting her skills. On Sunday after her race, young Black children came up to Brinson for pictures, hugs and autographs. She uses her position to be a role model.\u003c/p>\n\u003cp>“I feel like it’s a good representation of leadership, being accountable of my doings. It’s a good representation that all Black people are not negative,” says Brinson.\u003c/p>\n\u003cp>Although Brinson wasn’t thrilled about her run this weekend, finishing with a time of 20.6 seconds on Sunday, she knows that she can’t always win. The important thing was getting her skills down right in unison with Kairo. She took pride in Kairo keeping her safe and doing his best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My [goal], I want to say, is to become the first African American woman to be in the National Finals Rodeo,” Brinson says. “I want to at least say, ‘I did it. I conquered, let’s go get some more.’”\u003c/p>\n\u003cfigure id=\"attachment_13916022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops for some supplies on June 16, 2022 in Pleasanton. “We pay for dental work, vet bills, clothing, accessories like bits and saddles, the trailer, the truck, all that … it’s a lot, it’s expensive. It’s not like in your regular city budget,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops with her mom for supplies on June 16, 2022 in Pleasanton. “My mom is a single parent who raised me all my life. She’s taken care of me, she’s taken care of my horses,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson feeds Kairo on June 16, 2022 in Pleasanton. Kairo struggles with anxiety and scares easily. “But he’s been improving, you know, been getting close to checks and winning. So, hard work pays off,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson does some maintenance on Kairo’s shoes before taking him into the arena to practice on June 16, 2022 in Pleasanton. “Finishing” Kairo is one of Brinson’s main goals as a cowgirl and a way for her to build up her legacy. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rinses Kairo off after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. Kairo was a healer before becoming Brinson’s barrel race horse, so he was considered totally “green.” \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson waits with Kairo as he hydrates after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. A jackpot race, different from the rodeo barrel racing event, is a divisional event with extra added money. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson talks with one of her mentors, Sam Styles, after competing in a jackpot race on May 15, 2022 in Brentwood. Brinson started barrel racing when she was 13 years old. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916029\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rides into the arena with the rest of the cowboys and cowgirls for the Grand Entry of the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. The Oakland BPIR is the first rodeo Brinson ever attended, and she’s gone back every year since. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-2048x1374.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1920x1288.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg\" alt=\"\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson rode her horse Kairo and they finished with time of 20.6 seconds; the lower the time, the more likely a contestant will win the prize. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916028\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the Black National Anthem plays, a cowgirl rides around the center arena holding the Pan-African flag at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. This has been a tradition at the BPIR every year. It speaks to the rich history and endless contributions Black people have given to this country, especially within cowboy culture. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg\" alt=\"\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1536x1043.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodeo fans watch performances at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. BPIR is the only touring Black rodeo in the country, stopping in the East Bay for the past 38 years. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson during the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley, CA. Brinson rode her horse Kairo; it was his first rodeo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson catches up with family and friends after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. They were thrilled to see her, asking for autographs, photographs and hugs.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson shared that her path as a city cowgirl can get lonely sometimes. “But I do like the fact that I am kind of the face of the representation of barrel racing in the Black community, and I will always love to teach one and pass it on,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg\" alt=\"\" width=\"800\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-768x1162.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for a portrait after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. “That was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to … So it’s kind of like if you leave home and you come back to home, you know, you gotta show up and show out. Like, I have to go back to that every year,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13916039/kk-brinson-black-cowgirl-oakland-bill-pickett",
"authors": [
"11801"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_1143",
"arts_822"
],
"featImg": "arts_13916052",
"label": "arts"
},
"arts_13915084": {
"type": "posts",
"id": "arts_13915084",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13915084",
"score": null,
"sort": [
1655854491000
]
},
"guestAuthors": [],
"slug": "chloe-sherman-renegade-san-francisco-1990s-schlomer-haus",
"title": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF",
"publishDate": 1655854491,
"format": "standard",
"headTitle": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\u003c/p>\n\u003cp>[ad fullwidth]\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>Chloe Sherman’s ‘Renegade San Francisco: The 1990s’ is on view at Schlomer Haus Gallery (2128 Market St., San Francisco) through July 30, 2022. \u003ca href=\"https://schlomerhaus.com/chloe-sherman\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Thirty years ago, Chloe Sherman photographed queer nightlife. A new exhibit shares what she saw. ",
"status": "publish",
"parent": 0,
"modified": 1726771195,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 336
},
"headData": {
"title": "‘Renegade’: Chloe Sherman Photographed Queer SF in the ’90s | KQED",
"description": "Thirty years ago, Chloe Sherman photographed queer nightlife. A new exhibit shares what she saw. ",
"ogTitle": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Renegade’: Chloe Sherman Photographed Queer SF in the ’90s %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF",
"datePublished": "2022-06-21T16:34:51-07:00",
"dateModified": "2024-09-19T11:39:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\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>\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>Chloe Sherman’s ‘Renegade San Francisco: The 1990s’ is on view at Schlomer Haus Gallery (2128 Market St., San Francisco) through July 30, 2022. \u003ca href=\"https://schlomerhaus.com/chloe-sherman\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_8054",
"arts_6222",
"arts_17868",
"arts_10278",
"arts_3226",
"arts_822",
"arts_1146",
"arts_8291",
"arts_585"
],
"featImg": "arts_13915085",
"label": "arts_140"
},
"arts_13914683": {
"type": "posts",
"id": "arts_13914683",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13914683",
"score": null,
"sort": [
1655243687000
]
},
"guestAuthors": [],
"slug": "the-global-library-project-is-a-photographic-love-letter-to-the-written-word",
"title": "'The Global Library Project' is a Photographic Love Letter to the Written Word",
"publishDate": 1655243687,
"format": "standard",
"headTitle": "‘The Global Library Project’ is a Photographic Love Letter to the Written Word | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>The Global Library Project\u003c/em> is a stirring photography exhibit that acts as a love letter to librarians, to the written word, and to histories preserved. (That it’s on show at San Francisco’s main public library should come as no surprise.)\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.robertdawson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Dawson\u003c/a>‘s adoration for all things bibliophilic was previously documented in 2014’s \u003cem>The Public Library: A Photographic Essay \u003c/em>book, in which he documented libraries across America. Now, in collaboration with his wife, photo historian \u003ca href=\"http://www.rupertjenkins.com/colorado-photo-history-blog/2021/1/13/ellen-manchester-amp-the-rephotographic-survey-project-mhwbd\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Manchester\u003c/a>, Dawson has begun documenting libraries around the world.\u003c/p>\n\u003cfigure id=\"attachment_13914748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1920x1286.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarians and volunteers stand outside the Children’s Library of Dnipro, Ukraine.\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it’s the palatial Wiblingen Library in Ulm, Germany, or an open air library for refugees in a downtrodden part of Tel Aviv, no library is off-limits for this San Francisco couple. In this new exhibit, on view through Nov. 13, Dawson and Manchester capture the warmth inside these community spaces and, frequently, the pride each institution has for its location. But the thing that truly elevates Dawson and Manchester’s work is their knack for presenting every library as essential and even sacred.\u003c/p>\n\u003cp>[aside postid='arts_13873153']By expanding his scope beyond American borders, Dawson’s camera now carries the weight of old conflicts that have played out across European history. It’s clear throughout \u003cem>The Global Library Project\u003c/em> that the battles beyond library walls can’t help but impact what’s inside them. One striking example from the Palestinian Nablus Public Library: a book with a cube neatly cut out of its center—a space where Palestinian people imprisoned in Israel could exchange personal notes and information. In Belgium, the charred remains of old books stand as a reminder of when Leuven’s Library of the Catholic University was burned to the ground by Nazis.\u003c/p>\n\u003cfigure id=\"attachment_13914787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914787\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117805271_738ab5dbaf_k-800x533.jpg\" alt=\"A long grand hall, with ornate pews and desks on both sides, separated by a walkway and white structural pillars.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The Malatestiana Library in Italy was built in 1454. Following medieval tradition, to this day it is lit entirely with natural light and all the books are secured to desks via chains. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, the fallout from World War II and the Nazi decimation of the Jewish people reoccurs in \u003cem>The Global Library Project\u003c/em>. In Poland, we see synagogues that became libraries when there were no more Jews to frequent them. From Israel’s National Library, the story of a World War I veteran who kept a torah with him in a World War II concentration camp—disguised as his wooden leg. In Berlin, there’s The Empty Library—a memorial to the thousands of books lost to Nazi book burnings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sometimes, the libraries stand as symbols for what is no longer there. Today in Germany, for example, two libraries serve the exact same community. They are positioned close together because they were once separated by the Berlin wall. At Oświęcim—more commonly known as Auschwitz—Dawson and Manchester capture a library that makes no mention of the atrocities that took place there during the second world war. Though jarred by the erasure, the couple is careful to note: “The library was built to forget.”\u003c/p>\n\u003cfigure id=\"attachment_13914747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914747\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841838_65b38daa4c_k-800x534.jpg\" alt=\"A man and two women sit cross legged above a window built into the sidewalk. Brightly lit underneath them are rows and rows of white empty shelves. Behind them stands a grand old library building.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">The Empty Library: Micha Ullman’s stark memorial stands on the site of a 1933 book burning outside Humboldt University’s Old Library. Its empty white shelves are large enough to hold the estimated 20,000 books burned by the Nazis. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Dawson and Manchester take the viewer on a fascinating trip that touches down in Canada, Russia, France, Greece, Italy, and even through the library ruins of Pompeii. Together, the resulting photographs make for a moving journey full of human resilience, intellect, and the determination it takes to document and catalog it all for future generations.\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>‘The Global Library Project’ is on display at San Francisco Main Library’s Jewett Gallery through Nov. 13. \u003ca href=\"https://sfpl.org/exhibits/2022/06/11/global-library-project\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Photographer Robert Dawson and photography historian Ellen Manchester take us around the world one library at a time.",
"status": "publish",
"parent": 0,
"modified": 1726771198,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 660
},
"headData": {
"title": "'The Global Library Project' is a Photographic Love Letter to the Written Word | KQED",
"description": "Photographer Robert Dawson and photography historian Ellen Manchester take us around the world one library at a time.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Global Library Project' is a Photographic Love Letter to the Written Word",
"datePublished": "2022-06-14T14:54:47-07:00",
"dateModified": "2024-09-19T11:39:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13914683/the-global-library-project-is-a-photographic-love-letter-to-the-written-word",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Global Library Project\u003c/em> is a stirring photography exhibit that acts as a love letter to librarians, to the written word, and to histories preserved. (That it’s on show at San Francisco’s main public library should come as no surprise.)\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.robertdawson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Dawson\u003c/a>‘s adoration for all things bibliophilic was previously documented in 2014’s \u003cem>The Public Library: A Photographic Essay \u003c/em>book, in which he documented libraries across America. Now, in collaboration with his wife, photo historian \u003ca href=\"http://www.rupertjenkins.com/colorado-photo-history-blog/2021/1/13/ellen-manchester-amp-the-rephotographic-survey-project-mhwbd\" target=\"_blank\" rel=\"noopener noreferrer\">Ellen Manchester\u003c/a>, Dawson has begun documenting libraries around the world.\u003c/p>\n\u003cfigure id=\"attachment_13914748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1536x1029.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k-1920x1286.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/52117841903_ea937aff14_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarians and volunteers stand outside the Children’s Library of Dnipro, Ukraine.\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it’s the palatial Wiblingen Library in Ulm, Germany, or an open air library for refugees in a downtrodden part of Tel Aviv, no library is off-limits for this San Francisco couple. In this new exhibit, on view through Nov. 13, Dawson and Manchester capture the warmth inside these community spaces and, frequently, the pride each institution has for its location. But the thing that truly elevates Dawson and Manchester’s work is their knack for presenting every library as essential and even sacred.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13873153",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>By expanding his scope beyond American borders, Dawson’s camera now carries the weight of old conflicts that have played out across European history. It’s clear throughout \u003cem>The Global Library Project\u003c/em> that the battles beyond library walls can’t help but impact what’s inside them. One striking example from the Palestinian Nablus Public Library: a book with a cube neatly cut out of its center—a space where Palestinian people imprisoned in Israel could exchange personal notes and information. In Belgium, the charred remains of old books stand as a reminder of when Leuven’s Library of the Catholic University was burned to the ground by Nazis.\u003c/p>\n\u003cfigure id=\"attachment_13914787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914787\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117805271_738ab5dbaf_k-800x533.jpg\" alt=\"A long grand hall, with ornate pews and desks on both sides, separated by a walkway and white structural pillars.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The Malatestiana Library in Italy was built in 1454. Following medieval tradition, to this day it is lit entirely with natural light and all the books are secured to desks via chains. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, the fallout from World War II and the Nazi decimation of the Jewish people reoccurs in \u003cem>The Global Library Project\u003c/em>. In Poland, we see synagogues that became libraries when there were no more Jews to frequent them. From Israel’s National Library, the story of a World War I veteran who kept a torah with him in a World War II concentration camp—disguised as his wooden leg. In Berlin, there’s The Empty Library—a memorial to the thousands of books lost to Nazi book burnings.\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>Sometimes, the libraries stand as symbols for what is no longer there. Today in Germany, for example, two libraries serve the exact same community. They are positioned close together because they were once separated by the Berlin wall. At Oświęcim—more commonly known as Auschwitz—Dawson and Manchester capture a library that makes no mention of the atrocities that took place there during the second world war. Though jarred by the erasure, the couple is careful to note: “The library was built to forget.”\u003c/p>\n\u003cfigure id=\"attachment_13914747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914747\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/52117841838_65b38daa4c_k-800x534.jpg\" alt=\"A man and two women sit cross legged above a window built into the sidewalk. Brightly lit underneath them are rows and rows of white empty shelves. Behind them stands a grand old library building.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">The Empty Library: Micha Ullman’s stark memorial stands on the site of a 1933 book burning outside Humboldt University’s Old Library. Its empty white shelves are large enough to hold the estimated 20,000 books burned by the Nazis. \u003ccite>(SFPL Media Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Dawson and Manchester take the viewer on a fascinating trip that touches down in Canada, Russia, France, Greece, Italy, and even through the library ruins of Pompeii. Together, the resulting photographs make for a moving journey full of human resilience, intellect, and the determination it takes to document and catalog it all for future generations.\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>‘The Global Library Project’ is on display at San Francisco Main Library’s Jewett Gallery through Nov. 13. \u003ca href=\"https://sfpl.org/exhibits/2022/06/11/global-library-project\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13914683/the-global-library-project-is-a-photographic-love-letter-to-the-written-word",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_822",
"arts_7221"
],
"featImg": "arts_13914466",
"label": "arts_140"
},
"arts_13912887": {
"type": "posts",
"id": "arts_13912887",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13912887",
"score": null,
"sort": [
1651778704000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1651778704,
"format": "standard",
"title": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality",
"headTitle": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality | KQED",
"content": "\u003cp>With his long beard, dark waistcoat and piercing stare, Eadweard Muybridge personifies, in photographs, a certain type of 19th-century Englishman. But Muybridge wasn’t cut from any mold. Indeed, his arrival in San Francisco in 1855 as a bookseller, and his return a dozen years later as a photographer, puts him in the forefront of two modern phenomena: iconoclasts who came West to reinvent themselves, and technological innovation. \u003c/p>\n\u003cp>“Most historical figures get treated as antiques on a shelf, as time capsules to an earlier age,” muses Oakland filmmaker Marc Shaffer. “No matter how significant they may be, they’re nonetheless thought of as of the past, and so there’s a kind of distance there.”[aside postID='arts_13842189']\u003c/p>\n\u003cp>Muybridge, though, is an exception. You may be familiar with his signature motion-photography project, undertaken in the 1870s at the behest of and funded by the powerful railroad man and prideful Palo Alto horse trainer Leland Stanford to ascertain whether a galloping steed left the ground completely. The series of rapid-fire pictures is now viewed as a precursor to motion pictures.\u003c/p>\n\u003cp>Shaffer was unaware of Muybridge, in part because his career as an award-winning broadcast journalist and filmmaker for Frontline, Al-Jazeera and National Geographic (among others) was centered on the East Coast. When he encountered Muybridge’s striking photographs while researching \u003cem>\u003ca href=\"http://www.americanjerusalem.com/\" rel=\"noopener noreferrer\" target=\"_blank\">American Jerusalem: Jews and the Making of San Francisco\u003c/a>\u003c/em> (2014), the Berkeley native was stunned.\u003c/p>\n\u003cfigure id=\"attachment_13912943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg\" alt=\"Stereo image of man with back to camera looking out at SF Bay\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Muybridge photograph, ‘Golden Gate, From Goat Island,’ 1870. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Muybridge, as I got to know his story and I got to understand the impact of his work, I realized he was a kind of starting point—an origin story—for us, who live in a sea of visual storytelling,” Shaffer explains. “Our modern culture is defined by technological visual storytelling in some really important ways that go back to Muybridge.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em>, Shaffer’s deliciously probing and philosophical recounting of Muybridge’s strange and colorful life, screens Saturday, May 7 at 8pm in \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, the California Film Institute’s annual documentary festival at the Smith Rafael Film Center. \u003c/p>\n\u003cp>Winner of the 2022 Writers Guild Award for documentary screenplay, the film is also distinguished by the creative editing of Elisabeth Haviland James (a product of Stanford University’s graduate documentary program, coincidentally), Chad Cannon’s thoughtful score and Muybridge collector and aficionado Gary Oldman’s numerous amusing and pointed comments (alongside those of certified historians and scholars).\u003c/p>\n\u003cfigure id=\"attachment_13912940\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman with photograph of Muybridge in a still from ‘Exposing Muybridge.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Shaffer was less interested in cementing Muybridge’s role in the evolution of cinema than in wrestling with the moral and aesthetic choices he made. \u003c/p>\n\u003cp>“I’m very animated by questions around truth, what is true and the power of a storyteller to filter reality and essentially define it for audiences,” Shaffer says. “That was my experience as a news producer, and since that’s something I’ve struggled with my whole career, when I encountered it in Muybridge’s work it deeply resonated.” \u003c/p>\n\u003cp>While Muybridge’s work has been covered by scholars and popular writers, Shaffer says, the trustworthiness of his images hasn’t been a dominant theme in most of that work. “It’s really quite secondary,” he says. “As a person who’s been entrusted to make sense out of the world, that Muybridge was not so reliable in that regard kind of jumped off the page to me.”\u003c/p>\n\u003cp>Muybridge took liberties like adding clouds to a landscape during processing (fixing it in post, we call it today). Like other photographers, he was compensating for the rudimentary quality of the medium and the camera, which couldn’t expose the ground and the sky at the same time. \u003c/p>\n\u003cfigure id=\"attachment_13912944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg\" alt=\"Three rows of black-and-white images of different angles of nude woman sitting in chair smoking\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13912944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-768x434.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A detail from Muybridge’s ‘Animal Locomotion’ series from 1887. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He considered himself an artist, he described his photographs as ‘illustrated by Muybridge,’ Shaffer explains. “I think that he believed that he didn’t just have the license, he had the \u003cem>obligation\u003c/em> to make the most aesthetically pleasing images he could, which would often mean producing a fiction: things that didn’t exist in nature. Part of that was just the beauty of what he could do with his camera, kind of an early Photoshop [way of] manipulating things in the frame that weren’t there.”\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> lingers on a more problematic photo, in a \u003ci>Harper’s Weekly\u003c/i> spread, that purported to be a Modoc warrior. In fact, Muybridge “cast” a Native American scout with the U.S. Army—a member of the Warm Springs tribe—holding a government carbine.[aside postID='arts_13908371']\u003c/p>\n\u003cp>“I had an evolution [over] 10 years,” Shaffer confides. “Maybe I started from a place that was more judgmental: Muybridge had done something wrong. He manipulated his images without being transparent, or mischaracterized some of them because it was convenient for him. He needed to be held accountable, almost in an investigative reporting sense. We found out he did something and he didn’t tell us about it and that’s betrayal.”\u003c/p>\n\u003cp>Shaffer, who speaks in paragraphs rather than soundbites, continues, “I came to have a greater appreciation for different kinds of truths. As [photographer] Byron Wolfe says in the film, his photography is more like poetry. If you understand him in those terms, you can appreciate that it’s what all art is, it has the capacity to have a deeper truth, a resonant emotional truth, that transcends the physical reality of what it represents.”\u003c/p>\n\u003cfigure id=\"attachment_13912945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg\" alt=\"Man smiles on film set with row of cameras set up behind him\" width=\"1200\" height=\"1137\" class=\"size-full wp-image-13912945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-768x728.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Exposing Muybridge’ director Marc Shaffer. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who’s made media for mainstream audiences for decades, Shaffer is sensitive not only to the responsibilities of the individual behind the camera but to the expectations of the viewer. And he wishes audiences were more skeptical and less passive.\u003c/p>\n\u003cp>“Photographs have always had an authority to them,” he notes. “We’ve had this comfort with the machine-made image. Part of it feels like it’s unfiltered. A painter paints but a camera makes the real thing. And maybe there’s a greater sense of betrayal when you discover that the person controlling the camera made something that isn’t true—‘true’ is a tricky word—it isn’t what was in front of his camera.”\u003c/p>\n\u003cp>[aside postID='arts_13894535']Muybridge was a complicated figure; he changed his name from the prosaic Edward James Muggeridge in stages after his departure from England. He subsequently suffered a head injury between his two Bay Area residencies that likely altered his personality. (One of the more colorful passages in the film concerns the action he took against the man he believed to be his wife’s lover, resulting in Muybridge’s trial for murder.) If Shaffer and his assembled experts are uncomfortable when he manipulates photographs—notably in his massive animal locomotion series at the University of Pennsylvania—they confess admiration for Muybridge’s drive, initiative, stubbornness and independence.\u003c/p>\n\u003cp>“Muybridge has patrons, and he who pays the piper names the tune,” Shaffer says. “What I loved about Muybridge was the way he hijacked his commissions. He was dependent on the resources of powerful interests, like the U.S. government, or railroads, or Leland Stanford, with their own agenda, who would hire him to serve them—and he did, he did it well, he wasn’t a social reformer in that respect, he was a tool of Western expansion—but as an artist he would always bend it in some bizarre way that part of me admired and couldn’t quite believe he got away with.”\u003c/p>\n\u003cp>Early in his career, Muybridge was hired to go to Alaska and take photographs of military ports and harbors. He did that, and also came back with wonderful pictures of the Native Tlingit people. \u003c/p>\n\u003cp>“This happens over and over and over again with him,” Shaffer says, “and I, as somebody who’s done a lot of commissioned film over the years, that’s always been a bit of my impulse as well. I’ve always had this subversive instinct to steal the commission and make the film I felt needed to be made. Which was often not exactly the film that the commissioner wanted or asked me to make. So when I saw that in his work I had a great appreciation for it.”\u003c/p>\n\u003cp>https://youtu.be/xeMMIofB3uU\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> raises a wealth of questions about the creation, the nature and the consumption of image-making. Because the work in question dates from more than 125 years ago, the debate is relevant without being charged. But there’s a crucial element of visual representation that Shaffer considers paramount.\u003c/p>\n\u003cp>“I think my film is pretty straightforward but I hope people leave the theater with a refreshed appreciation for just how powerful the machine is,” he declares. “And who controls it. That the power of that machine lies in the hands of the person who controls it, and the extent to which we are served or harmed by it has to do with how much we can trust the person behind the machine. That doesn’t mean they don’t have a point of view; everybody has a point a view. It doesn’t mean they don’t have an agenda of some kind. It has to do with the level of transparency and honesty with which they treat the audience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Exposing Muybridge’ screens in-theater at the Smith Rafael Film Center on Saturday, May 7 at 8pm. Online streaming is also available to California viewers. \u003ca href=\"https://www.doclands.com/exposing-muybridge/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1709,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705006894,
"excerpt": "The documentary is a delicious recounting of the 19th-century photographer’s strange and colorful life.",
"headData": {
"twImgId": "",
"twTitle": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality",
"socialTitle": "‘Exposing Muybridge’ at DocLands: Everybody Has a Point of View %%page%% %%sep%% KQED",
"ogTitle": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality",
"ogImgId": "",
"twDescription": "",
"description": "The documentary is a delicious recounting of the 19th-century photographer’s strange and colorful life.",
"title": "‘Exposing Muybridge’ at DocLands: Everybody Has a Point of View | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality",
"datePublished": "2022-05-05T12:25:04-07:00",
"dateModified": "2024-01-11T13:01:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "doclands-exposing-muybridge-film-photography-truth",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13912887/doclands-exposing-muybridge-film-photography-truth",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his long beard, dark waistcoat and piercing stare, Eadweard Muybridge personifies, in photographs, a certain type of 19th-century Englishman. But Muybridge wasn’t cut from any mold. Indeed, his arrival in San Francisco in 1855 as a bookseller, and his return a dozen years later as a photographer, puts him in the forefront of two modern phenomena: iconoclasts who came West to reinvent themselves, and technological innovation. \u003c/p>\n\u003cp>“Most historical figures get treated as antiques on a shelf, as time capsules to an earlier age,” muses Oakland filmmaker Marc Shaffer. “No matter how significant they may be, they’re nonetheless thought of as of the past, and so there’s a kind of distance there.”\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13842189",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muybridge, though, is an exception. You may be familiar with his signature motion-photography project, undertaken in the 1870s at the behest of and funded by the powerful railroad man and prideful Palo Alto horse trainer Leland Stanford to ascertain whether a galloping steed left the ground completely. The series of rapid-fire pictures is now viewed as a precursor to motion pictures.\u003c/p>\n\u003cp>Shaffer was unaware of Muybridge, in part because his career as an award-winning broadcast journalist and filmmaker for Frontline, Al-Jazeera and National Geographic (among others) was centered on the East Coast. When he encountered Muybridge’s striking photographs while researching \u003cem>\u003ca href=\"http://www.americanjerusalem.com/\" rel=\"noopener noreferrer\" target=\"_blank\">American Jerusalem: Jews and the Making of San Francisco\u003c/a>\u003c/em> (2014), the Berkeley native was stunned.\u003c/p>\n\u003cfigure id=\"attachment_13912943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg\" alt=\"Stereo image of man with back to camera looking out at SF Bay\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Muybridge photograph, ‘Golden Gate, From Goat Island,’ 1870. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Muybridge, as I got to know his story and I got to understand the impact of his work, I realized he was a kind of starting point—an origin story—for us, who live in a sea of visual storytelling,” Shaffer explains. “Our modern culture is defined by technological visual storytelling in some really important ways that go back to Muybridge.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em>, Shaffer’s deliciously probing and philosophical recounting of Muybridge’s strange and colorful life, screens Saturday, May 7 at 8pm in \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, the California Film Institute’s annual documentary festival at the Smith Rafael Film Center. \u003c/p>\n\u003cp>Winner of the 2022 Writers Guild Award for documentary screenplay, the film is also distinguished by the creative editing of Elisabeth Haviland James (a product of Stanford University’s graduate documentary program, coincidentally), Chad Cannon’s thoughtful score and Muybridge collector and aficionado Gary Oldman’s numerous amusing and pointed comments (alongside those of certified historians and scholars).\u003c/p>\n\u003cfigure id=\"attachment_13912940\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman with photograph of Muybridge in a still from ‘Exposing Muybridge.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Shaffer was less interested in cementing Muybridge’s role in the evolution of cinema than in wrestling with the moral and aesthetic choices he made. \u003c/p>\n\u003cp>“I’m very animated by questions around truth, what is true and the power of a storyteller to filter reality and essentially define it for audiences,” Shaffer says. “That was my experience as a news producer, and since that’s something I’ve struggled with my whole career, when I encountered it in Muybridge’s work it deeply resonated.” \u003c/p>\n\u003cp>While Muybridge’s work has been covered by scholars and popular writers, Shaffer says, the trustworthiness of his images hasn’t been a dominant theme in most of that work. “It’s really quite secondary,” he says. “As a person who’s been entrusted to make sense out of the world, that Muybridge was not so reliable in that regard kind of jumped off the page to me.”\u003c/p>\n\u003cp>Muybridge took liberties like adding clouds to a landscape during processing (fixing it in post, we call it today). Like other photographers, he was compensating for the rudimentary quality of the medium and the camera, which couldn’t expose the ground and the sky at the same time. \u003c/p>\n\u003cfigure id=\"attachment_13912944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg\" alt=\"Three rows of black-and-white images of different angles of nude woman sitting in chair smoking\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13912944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-768x434.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A detail from Muybridge’s ‘Animal Locomotion’ series from 1887. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He considered himself an artist, he described his photographs as ‘illustrated by Muybridge,’ Shaffer explains. “I think that he believed that he didn’t just have the license, he had the \u003cem>obligation\u003c/em> to make the most aesthetically pleasing images he could, which would often mean producing a fiction: things that didn’t exist in nature. Part of that was just the beauty of what he could do with his camera, kind of an early Photoshop [way of] manipulating things in the frame that weren’t there.”\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> lingers on a more problematic photo, in a \u003ci>Harper’s Weekly\u003c/i> spread, that purported to be a Modoc warrior. In fact, Muybridge “cast” a Native American scout with the U.S. Army—a member of the Warm Springs tribe—holding a government carbine.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13908371",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had an evolution [over] 10 years,” Shaffer confides. “Maybe I started from a place that was more judgmental: Muybridge had done something wrong. He manipulated his images without being transparent, or mischaracterized some of them because it was convenient for him. He needed to be held accountable, almost in an investigative reporting sense. We found out he did something and he didn’t tell us about it and that’s betrayal.”\u003c/p>\n\u003cp>Shaffer, who speaks in paragraphs rather than soundbites, continues, “I came to have a greater appreciation for different kinds of truths. As [photographer] Byron Wolfe says in the film, his photography is more like poetry. If you understand him in those terms, you can appreciate that it’s what all art is, it has the capacity to have a deeper truth, a resonant emotional truth, that transcends the physical reality of what it represents.”\u003c/p>\n\u003cfigure id=\"attachment_13912945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg\" alt=\"Man smiles on film set with row of cameras set up behind him\" width=\"1200\" height=\"1137\" class=\"size-full wp-image-13912945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-768x728.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Exposing Muybridge’ director Marc Shaffer. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who’s made media for mainstream audiences for decades, Shaffer is sensitive not only to the responsibilities of the individual behind the camera but to the expectations of the viewer. And he wishes audiences were more skeptical and less passive.\u003c/p>\n\u003cp>“Photographs have always had an authority to them,” he notes. “We’ve had this comfort with the machine-made image. Part of it feels like it’s unfiltered. A painter paints but a camera makes the real thing. And maybe there’s a greater sense of betrayal when you discover that the person controlling the camera made something that isn’t true—‘true’ is a tricky word—it isn’t what was in front of his camera.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894535",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Muybridge was a complicated figure; he changed his name from the prosaic Edward James Muggeridge in stages after his departure from England. He subsequently suffered a head injury between his two Bay Area residencies that likely altered his personality. (One of the more colorful passages in the film concerns the action he took against the man he believed to be his wife’s lover, resulting in Muybridge’s trial for murder.) If Shaffer and his assembled experts are uncomfortable when he manipulates photographs—notably in his massive animal locomotion series at the University of Pennsylvania—they confess admiration for Muybridge’s drive, initiative, stubbornness and independence.\u003c/p>\n\u003cp>“Muybridge has patrons, and he who pays the piper names the tune,” Shaffer says. “What I loved about Muybridge was the way he hijacked his commissions. He was dependent on the resources of powerful interests, like the U.S. government, or railroads, or Leland Stanford, with their own agenda, who would hire him to serve them—and he did, he did it well, he wasn’t a social reformer in that respect, he was a tool of Western expansion—but as an artist he would always bend it in some bizarre way that part of me admired and couldn’t quite believe he got away with.”\u003c/p>\n\u003cp>Early in his career, Muybridge was hired to go to Alaska and take photographs of military ports and harbors. He did that, and also came back with wonderful pictures of the Native Tlingit people. \u003c/p>\n\u003cp>“This happens over and over and over again with him,” Shaffer says, “and I, as somebody who’s done a lot of commissioned film over the years, that’s always been a bit of my impulse as well. I’ve always had this subversive instinct to steal the commission and make the film I felt needed to be made. Which was often not exactly the film that the commissioner wanted or asked me to make. So when I saw that in his work I had a great appreciation for it.”\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/xeMMIofB3uU'\n title='//www.youtube.com/embed/xeMMIofB3uU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Exposing Muybridge\u003c/em> raises a wealth of questions about the creation, the nature and the consumption of image-making. Because the work in question dates from more than 125 years ago, the debate is relevant without being charged. But there’s a crucial element of visual representation that Shaffer considers paramount.\u003c/p>\n\u003cp>“I think my film is pretty straightforward but I hope people leave the theater with a refreshed appreciation for just how powerful the machine is,” he declares. “And who controls it. That the power of that machine lies in the hands of the person who controls it, and the extent to which we are served or harmed by it has to do with how much we can trust the person behind the machine. That doesn’t mean they don’t have a point of view; everybody has a point a view. It doesn’t mean they don’t have an agenda of some kind. It has to do with the level of transparency and honesty with which they treat the audience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Exposing Muybridge’ screens in-theater at the Smith Rafael Film Center on Saturday, May 7 at 8pm. Online streaming is also available to California viewers. \u003ca href=\"https://www.doclands.com/exposing-muybridge/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13912887/doclands-exposing-muybridge-film-photography-truth",
"authors": [
"22"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_13672",
"arts_10278",
"arts_977",
"arts_822",
"arts_585"
],
"featImg": "arts_13912942",
"label": "arts"
},
"arts_13908113": {
"type": "posts",
"id": "arts_13908113",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13908113",
"score": null,
"sort": [
1642158030000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1642158030,
"format": "aside",
"title": "Releasing Pain Through Underwater Photography",
"headTitle": "Releasing Pain Through Underwater Photography | KQED",
"content": "\u003cfigure id=\"attachment_13908115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/OGY2p6yw-800x1013.jpg\" alt=\"Jared, a veteran who is also a survivor of PTSD, takes a dip in the pool.\" width=\"800\" height=\"1013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1020x1292.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1213x1536.jpg 1213w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1617x2048.jpg 1617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1920x2432.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-scaled.jpg 2021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jared, an army veteran with PTSD. \u003ccite>(Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6129450264\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/underwater_erenashimoda/\" target=\"_blank\" rel=\"noopener noreferrer\">Erena Shimoda\u003c/a> takes photos underwater. She creates majestic images of people in pools. Her subjects can be seen posing in wheelchairs, dancing with tulle, adorned in mermaid attire, or wrapped in Shibari ropes.\u003c/p>\n\u003cfigure id=\"attachment_13908116\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/tPwlQ0YQ-800x533.jpg\" alt=\"Gabriel poses underwater while wearing a sequin top and an aqua-marine colored fabric shaped like a mermaid's fin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel as a mermaid. \u003ccite>(Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of her models are people who’ve lived through physical or mental trauma. Erena helps them slip into water, release their experiences, and hopefully reemerge anew. It’s a nod to religious practices around water, like baptisms in Catholicism, holy dips in India’s Ganges River and water meditations of Shintoism. Not to mention, water’s ability to make you feel good is backed up by \u003ca href=\"https://www.wallacejnichols.org/467/bluemind-research.html\">science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13908224\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908224\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/gF_LKl9A-800x581.jpeg\" alt=\"Underwater we see a man in a blue mermaid tail smiles at a woman holding him in a red swimsuit.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-800x581.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-1020x740.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-768x557.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-1536x1115.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-2048x1486.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-1920x1394.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thera and Casey. Casey sustained a T-10 spinal injury after a snowboarding accident.\u003c/figcaption>\u003c/figure>\n\u003cp>As we dive deeper into the new year, we’re talking to Erena about her journey photographing the healing power of water.\u003c/p>\n\u003cfigure id=\"attachment_13908114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/download-2.jpg\" alt=\"Erena Shimoda holds a large camera, as she stands on a beach as the tide comes in with the Golden Gate Bridge in the background.\" width=\"800\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/download-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/download-2-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/download-2-768x988.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erena Shimoda \u003ccite>(Via Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of my conversation with Erena Shimoda.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: I’ve read that you’ve also suffered trauma: a bad car accident. Working with folks who’ve endured trauma, I’m just wondering how your experiences might inform the art that you do.\u003c/em>\u003c/p>\n\u003cp>Erena: I was in a car accident and I was thrown out of the car and sent to ICU by helicopter, fracturing my entire body. And I had a major brain injury. I survived, but my father was driving and he… they couldn’t save him. He was driving and wearing a seatbelt and I did not wear my seatbelt and I survived… I didn’t feel that was fair and was blaming myself for a while but at the same time I was ignoring it. I didn’t realize that was causing the deep down depression because I didn’t have time to grieve my father’s death.\u003c/p>\n\u003cp>Erena: For a few years, I was on medications and I was not doing better at all. I was researching what to do. I tried everything. Nothing worked except swimming and scuba diving. I think water saved my life. I became more honest with myself. I understood why I was depressed: because my father’s death. After admitting that I needed to grieve his death, I think I could just finally be myself and also I wanted to help others.\u003c/p>\n\u003cp>\u003cem>After Erena found scuba diving … she says she discovered her love for photography. And then she decided to combine her passions after a transformative volunteering experience.\u003c/em>\u003c/p>\n\u003cp>Erena: So I started to also volunteer for the \u003ca href=\"https://lookgoodfeelbetter.org/\">Look Good Feel Better\u003c/a> Program. That is the program for cancer patients to learn how to put makeup and wigs on. Because they’re doing their chemotherapy, they lose their hair, they lose their confidence… But when they leave the class their vibe and their aura are so different, they are more positive. They want to live. They want to survive! … When I saw that, I thought, maybe I can do underwater portrait sessions with cancer survivors to give them more freedom!\u003c/p>\n\u003cfigure id=\"attachment_13908191\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/zsNZ0H8o-800x989.jpg\" alt=\"A Black woman with long hair floats in the water, a bright pink rope wraps around her bare torso. The rope rises straight up towards the surface of the water.\" width=\"800\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1020x1262.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1242x1536.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1656x2048.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1920x2375.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber is a breast cancer survivor and a navy veteran. \u003ccite>(Courtesy of Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: Why water? What is it about water that allows it to be transformative?\u003c/em>\u003c/p>\n\u003cp>Erena: I’m from Japan originally and I’m used to getting in the bathtub to end the day. You sink in [the water] up until the shoulder level. Every day – or every night – after school, you release all the stress and let go of all the negativities that happened that day.\u003c/p>\n\u003cp>\u003cem>Pen: As you were talking about it, my shoulders sank back a little bit. My posture changed.\u003c/em>\u003c/p>\n\u003cp>Erena: That water effect can be really positive… And that can happen in underwater portrait photography sessions – just letting go of nerves… You can be yourself when you’re in there.\u003c/p>\n\u003cp>\u003cem>Pen: The process of actually photographing people underwater. How do people hold their breath for long enough for you to take a photo? How does that happen?\u003c/em>\u003c/p>\n\u003cp>Erena: It’s really interesting because it’s the opposite breathing practice before you go down – because usually when you go in the water, we inhale the air, right? – But when you do that, the picture is going to look like blowfish! The cheeks are blown up. So we have to do the opposite, where you have to exhale before you go down. If your lungs are like balloons, if you have too much air, you float. So if you exhale, your lungs are smaller and then you go down faster.\u003c/p>\n\u003cp>\u003cem>Pen: And I know that you have to be in tune with the person or subject of your photos…\u003c/em>\u003c/p>\n\u003cp>Erena: Emotionally and psychologically I have to understand them and where they are. It’s hard underwater because we can’t talk.\u003c/p>\n\u003cfigure id=\"attachment_13908192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-800x1013.png\" alt=\"A woman walks along the corner of a pool in a black dress. her image is reflected back at her above. She wears one prosthetic leg.\" width=\"800\" height=\"1013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-800x1013.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-1020x1292.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-768x973.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-1213x1536.png 1213w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM.png 1470w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aria is a survivor of domestic violence. \u003ccite>(Courtesy of Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: How do you coach somebody through poses and to look serene and relaxed without communication?\u003c/em>\u003c/p>\n\u003cp>Erena: I’m originally from a different country, and I struggled with the language barrier. I could not speak English at all when I came here. So every time when people were talking to me, I had to guess from facial expressions and body languages. So underwater is the same thing, I can understand from their body language and facial expressions of where they are at, what they can do and what they cannot do.\u003c/p>\n\u003cp>\u003cem>Pen: You’ve been doing this project for some time now. I did this one project for 5 years interviewing older black men, called\u003ca href=\"https://ogtoldme.tumblr.com/\"> OG Told Me\u003c/a>. After a while I just got burnt out of doing the project. And so I’m wondering for you… does this go on forever? Do you see this train ever stopping?\u003c/em>\u003c/p>\n\u003cp>Erena: I think because I learn and grow every time I meet the survivors or my clients… I want to do this until I die. Yeah, I think it’s forever work as long as I can find the water.\u003c/p>\n\u003cfigure id=\"attachment_13908221\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/ejrckq3s-800x518.jpeg\" alt=\"a woman floats horizontally in the pool, it's bright, she wears a white dress with her arms stretched above her head. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-800x518.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-1020x660.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-160x104.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-768x497.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-1536x994.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-2048x1325.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-1920x1242.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiko, a breast cancer survivor. \u003ccite>(Courtesy of Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Erena is looking forward to photographing more survivors, and you can reach out to her at erena.shimoda@gmail.com.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 1121,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705007309,
"excerpt": "Water is considered healing by religious leaders and scientists alike, here's one photographer who has seen the power of water firsthand.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Water is considered healing by religious leaders and scientists alike, here's one photographer who has seen the power of water firsthand.",
"title": "Releasing Pain Through Underwater Photography | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Releasing Pain Through Underwater Photography",
"datePublished": "2022-01-14T03:00:30-08:00",
"dateModified": "2024-01-11T13:08:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "rightnowish-erena-shimoda-underwater-photography",
"status": "publish",
"sourceUrl": "https://www.kqed.org/podcasts/rightnowish",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC6129450264.mp3?updated=1642120785",
"excludeFromSiteSearch": "Include",
"sticky": false,
"subhead": "A Majestic Lens into Underwater Photography with Erena Shimoda",
"source": "Rightnowish",
"path": "/arts/13908113/rightnowish-erena-shimoda-underwater-photography",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13908115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/OGY2p6yw-800x1013.jpg\" alt=\"Jared, a veteran who is also a survivor of PTSD, takes a dip in the pool.\" width=\"800\" height=\"1013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1020x1292.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1213x1536.jpg 1213w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1617x2048.jpg 1617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-1920x2432.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/OGY2p6yw-scaled.jpg 2021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jared, an army veteran with PTSD. \u003ccite>(Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6129450264\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/underwater_erenashimoda/\" target=\"_blank\" rel=\"noopener noreferrer\">Erena Shimoda\u003c/a> takes photos underwater. She creates majestic images of people in pools. Her subjects can be seen posing in wheelchairs, dancing with tulle, adorned in mermaid attire, or wrapped in Shibari ropes.\u003c/p>\n\u003cfigure id=\"attachment_13908116\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/tPwlQ0YQ-800x533.jpg\" alt=\"Gabriel poses underwater while wearing a sequin top and an aqua-marine colored fabric shaped like a mermaid's fin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/tPwlQ0YQ-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel as a mermaid. \u003ccite>(Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of her models are people who’ve lived through physical or mental trauma. Erena helps them slip into water, release their experiences, and hopefully reemerge anew. It’s a nod to religious practices around water, like baptisms in Catholicism, holy dips in India’s Ganges River and water meditations of Shintoism. Not to mention, water’s ability to make you feel good is backed up by \u003ca href=\"https://www.wallacejnichols.org/467/bluemind-research.html\">science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13908224\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908224\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/gF_LKl9A-800x581.jpeg\" alt=\"Underwater we see a man in a blue mermaid tail smiles at a woman holding him in a red swimsuit.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-800x581.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-1020x740.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-768x557.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-1536x1115.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-2048x1486.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gF_LKl9A-1920x1394.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thera and Casey. Casey sustained a T-10 spinal injury after a snowboarding accident.\u003c/figcaption>\u003c/figure>\n\u003cp>As we dive deeper into the new year, we’re talking to Erena about her journey photographing the healing power of water.\u003c/p>\n\u003cfigure id=\"attachment_13908114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/download-2.jpg\" alt=\"Erena Shimoda holds a large camera, as she stands on a beach as the tide comes in with the Golden Gate Bridge in the background.\" width=\"800\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/download-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/download-2-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/download-2-768x988.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erena Shimoda \u003ccite>(Via Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of my conversation with Erena Shimoda.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: I’ve read that you’ve also suffered trauma: a bad car accident. Working with folks who’ve endured trauma, I’m just wondering how your experiences might inform the art that you do.\u003c/em>\u003c/p>\n\u003cp>Erena: I was in a car accident and I was thrown out of the car and sent to ICU by helicopter, fracturing my entire body. And I had a major brain injury. I survived, but my father was driving and he… they couldn’t save him. He was driving and wearing a seatbelt and I did not wear my seatbelt and I survived… I didn’t feel that was fair and was blaming myself for a while but at the same time I was ignoring it. I didn’t realize that was causing the deep down depression because I didn’t have time to grieve my father’s death.\u003c/p>\n\u003cp>Erena: For a few years, I was on medications and I was not doing better at all. I was researching what to do. I tried everything. Nothing worked except swimming and scuba diving. I think water saved my life. I became more honest with myself. I understood why I was depressed: because my father’s death. After admitting that I needed to grieve his death, I think I could just finally be myself and also I wanted to help others.\u003c/p>\n\u003cp>\u003cem>After Erena found scuba diving … she says she discovered her love for photography. And then she decided to combine her passions after a transformative volunteering experience.\u003c/em>\u003c/p>\n\u003cp>Erena: So I started to also volunteer for the \u003ca href=\"https://lookgoodfeelbetter.org/\">Look Good Feel Better\u003c/a> Program. That is the program for cancer patients to learn how to put makeup and wigs on. Because they’re doing their chemotherapy, they lose their hair, they lose their confidence… But when they leave the class their vibe and their aura are so different, they are more positive. They want to live. They want to survive! … When I saw that, I thought, maybe I can do underwater portrait sessions with cancer survivors to give them more freedom!\u003c/p>\n\u003cfigure id=\"attachment_13908191\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/zsNZ0H8o-800x989.jpg\" alt=\"A Black woman with long hair floats in the water, a bright pink rope wraps around her bare torso. The rope rises straight up towards the surface of the water.\" width=\"800\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-800x989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1020x1262.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1242x1536.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1656x2048.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/zsNZ0H8o-1920x2375.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber is a breast cancer survivor and a navy veteran. \u003ccite>(Courtesy of Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: Why water? What is it about water that allows it to be transformative?\u003c/em>\u003c/p>\n\u003cp>Erena: I’m from Japan originally and I’m used to getting in the bathtub to end the day. You sink in [the water] up until the shoulder level. Every day – or every night – after school, you release all the stress and let go of all the negativities that happened that day.\u003c/p>\n\u003cp>\u003cem>Pen: As you were talking about it, my shoulders sank back a little bit. My posture changed.\u003c/em>\u003c/p>\n\u003cp>Erena: That water effect can be really positive… And that can happen in underwater portrait photography sessions – just letting go of nerves… You can be yourself when you’re in there.\u003c/p>\n\u003cp>\u003cem>Pen: The process of actually photographing people underwater. How do people hold their breath for long enough for you to take a photo? How does that happen?\u003c/em>\u003c/p>\n\u003cp>Erena: It’s really interesting because it’s the opposite breathing practice before you go down – because usually when you go in the water, we inhale the air, right? – But when you do that, the picture is going to look like blowfish! The cheeks are blown up. So we have to do the opposite, where you have to exhale before you go down. If your lungs are like balloons, if you have too much air, you float. So if you exhale, your lungs are smaller and then you go down faster.\u003c/p>\n\u003cp>\u003cem>Pen: And I know that you have to be in tune with the person or subject of your photos…\u003c/em>\u003c/p>\n\u003cp>Erena: Emotionally and psychologically I have to understand them and where they are. It’s hard underwater because we can’t talk.\u003c/p>\n\u003cfigure id=\"attachment_13908192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-800x1013.png\" alt=\"A woman walks along the corner of a pool in a black dress. her image is reflected back at her above. She wears one prosthetic leg.\" width=\"800\" height=\"1013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-800x1013.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-1020x1292.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-768x973.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM-1213x1536.png 1213w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-13-at-5.11.43-PM.png 1470w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aria is a survivor of domestic violence. \u003ccite>(Courtesy of Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: How do you coach somebody through poses and to look serene and relaxed without communication?\u003c/em>\u003c/p>\n\u003cp>Erena: I’m originally from a different country, and I struggled with the language barrier. I could not speak English at all when I came here. So every time when people were talking to me, I had to guess from facial expressions and body languages. So underwater is the same thing, I can understand from their body language and facial expressions of where they are at, what they can do and what they cannot do.\u003c/p>\n\u003cp>\u003cem>Pen: You’ve been doing this project for some time now. I did this one project for 5 years interviewing older black men, called\u003ca href=\"https://ogtoldme.tumblr.com/\"> OG Told Me\u003c/a>. After a while I just got burnt out of doing the project. And so I’m wondering for you… does this go on forever? Do you see this train ever stopping?\u003c/em>\u003c/p>\n\u003cp>Erena: I think because I learn and grow every time I meet the survivors or my clients… I want to do this until I die. Yeah, I think it’s forever work as long as I can find the water.\u003c/p>\n\u003cfigure id=\"attachment_13908221\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/ejrckq3s-800x518.jpeg\" alt=\"a woman floats horizontally in the pool, it's bright, she wears a white dress with her arms stretched above her head. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-800x518.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-1020x660.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-160x104.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-768x497.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-1536x994.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-2048x1325.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/ejrckq3s-1920x1242.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiko, a breast cancer survivor. \u003ccite>(Courtesy of Erena Shimoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Erena is looking forward to photographing more survivors, and you can reach out to her at erena.shimoda@gmail.com.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13908113/rightnowish-erena-shimoda-underwater-photography",
"authors": [
"11491",
"11528"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_21759"
],
"tags": [
"arts_1331",
"arts_1118",
"arts_822",
"arts_6764"
],
"featImg": "arts_13908133",
"label": "source_arts_13908113"
},
"arts_13906092": {
"type": "posts",
"id": "arts_13906092",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906092",
"score": null,
"sort": [
1637093861000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1637093861,
"format": "standard",
"title": "The Go-Go’s Photo Exhibit at Saint Joseph’s is a Missed Opportunity",
"headTitle": "The Go-Go’s Photo Exhibit at Saint Joseph’s is a Missed Opportunity | KQED",
"content": "\u003cp>The Go-Go’s, in many ways, were the rock band equivalent of that kid in your high school who got straight As while also regularly ditching class and smoking under the bleachers. It’s easy to forget how exceptional they were because they always maintained a casual air of being scrappy and relatable.\u003c/p>\n\u003cp>In reality, The Go-Go’s are, to this day, the only all-female band to reach the top of the Billboard album chart while playing their own instruments and writing their own songs. Vocalist Belinda Carlisle, bassist Kathy Valentine, guitarists Charlotte Caffey and Jane Wiedlin, and drummer Gina Schock did that in 1982 with their first album, \u003cem>Beauty and the Beat\u003c/em>. It stayed at number one for six weeks, went double platinum in the U.S., and is still considered one of the most successful debuts of all time. In October, \u003ca href=\"https://www.rockhall.com/class-2021-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">the band was finally inducted into the Rock and Roll Hall of Fame\u003c/a>, and Schock marked the event by releasing a book of her photos documenting the band’s history.\u003c/p>\n\u003cp>[aside postid='arts_13902953']If you’ve seen that book, \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Made In Hollywood: All Access with the Go-Go’s\u003c/em>\u003c/a>, you already know that Schock’s photos are amazing. They’re funny and gritty and honest. They’re images of the band at their most beautiful and their most disheveled. These are shots of The Go-Go’s clowning around, doing blow, goofing off, and scowling from the back of the van. And together, they provide a perfect snapshot of five women boldly going where few women had gone before.\u003c/p>\n\u003cp>As Valentine notes in the foreword: “It’s one thing to casually take pictures; it’s another thing altogether when the photographer is one of you … It’s the photos, from behind the scenes, that tell the most evocative accounts.”\u003c/p>\n\u003cp>To celebrate the book and the band, \u003ca href=\"https://saintjosephsartssociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Saint Joseph’s Art Society\u003c/a>—a converted Catholic church refurbished, luxuriantly, by designer Ken Fulk—is exhibiting \u003cem>Gina Schock: Made in Hollywood\u003c/em>. But the way Schock’s work is presented in the space only serves to minimize it, the way that so many have minimized the work of The Go-Go’s before.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bulk of Schock’s photos are contained, in their original (very small) sizes, under ten 24-by-24-inch glass panels arranged on a large upstairs dining table. The horizontal presentation would be reminiscent of an end-of-year middle school art show if only the lighting wasn’t so bad. Picture the kind of dimness that your mother tells you not to read in lest you strain your eyes, combined with aggressive spotlights that reflect off the glass and obscure the images further. Trying to view Schock’s photography in this way is an exercise in pure frustration. (One can only imagine how much worse it is for wheelchair users who aren’t able to stand and bend double over the table.)\u003c/p>\n\u003cfigure id=\"attachment_13906152\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png\" alt=\"People look down on a table where the photographs are displayed under glass.\" width=\"1598\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1536x946.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">The dimly lit dining table of doom. \u003ccite>(Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriatingly, there are tantalizing glimpses of what this exhibit could have been. Like the four Polaroids blown up, framed and hung on the wall at a scale and angle where you can actually see what’s happening in them. For a moment, I thought these images—of hot tub tomfoolery, and of The Go-Go’s hanging with Joan Jett, Charlie Watts and Bill Wyman from the Rolling Stones—were leading to a space where there would be more like them. Instead, they led me directly into the bathroom. It’s clear that putting this exhibit directly next to the john was not a winking, knowing nod to first-wave punk sensibilities. It feels more like no one could be bothered to make space for it anywhere else in this giant building.\u003c/p>\n\u003cfigure id=\"attachment_13906161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png\" alt=\"Two framed photos hang on a pink wall. One shows Joan Jett and Gina Schock in the '80s, smiling with their arms around each other. The other shows The Go-Go's horsing around in a hot tub.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Schock’s Polaroids blown up to a scale where people can actually see and enjoy them. Why didn’t someone just run to Kinko’s and make more of these? \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Made in Hollywood\u003c/em>’s opening night—Saturday, Nov. 13—Gina Schock was present to sign copies of her book and conduct an hour-long interview with \u003cem>San Francisco Chronicle\u003c/em> columnist Tony Bravo. Schock enthusiastically talked about the book, her background in Baltimore, her life in bands, young Jodie Foster’s honorary status as “the sixth Go-Go,” Jane Fonda’s secret smoking habits, and being only the \u003ci>second\u003c/i> female drummer inducted into the Rock and Roll Hall of Fame. (“Now that we can vote for everything,” Schock noted, “we wanna get the B-52’s in, we wanna get Cher, we wanna get Suzi Quatro. We’ve got a list of the girls that we want to get in there who should already be in there. Hopefully we can help change things.”)\u003c/p>\n\u003cp>[aside postid='arts_13906078']Schock radiates an infectious high energy and her on-stage charm made a visit to the opening worthwhile. But without her presence, the show falls flat in a way that shouldn’t be possible with a photo collection this fearless. (Only on my third go around the dining table did I notice Belinda Carlisle labeled as “Bighead” on one Polaroid.) If you want to see Schock’s photos in a context that actually does them justice, buying her new book or watching Showtime’s warts-and-all documentary \u003ca href=\"https://www.youtube.com/watch?v=GsiRfL11I08\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Go-Go’s\u003c/em>\u003c/a>, are both much better options than a visit to Saint Joseph’s. Schock’s work and The Go-Go’s legacy deserve more fanfare—and much more wall space—than this.\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>‘Made In Hollywood: All Access with the Go-Go’s’ is out now through \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Dog & Leventhal\u003c/a>. Photos and posters from the book are on view at Saint Joseph’s Art Society (1401 Howard St., San Francisco) through Dec. 23.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1026,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705007482,
"excerpt": "Drummer Gina Schock’s photos are brilliant, but a new half-hearted exhibition fails to honor the fearless band.",
"headData": {
"twImgId": "",
"twTitle": "The Go-Go’s Photo Exhibit at Saint Joseph’s is a Missed Opportunity",
"socialTitle": "Review: Gina Schock’s Photos of The Go-Go’s at Saint Joseph’s%%page%% %%sep%% KQED",
"ogTitle": "The Go-Go’s Photo Exhibit at Saint Joseph’s is a Missed Opportunity",
"ogImgId": "",
"twDescription": "",
"description": "Drummer Gina Schock’s photos are brilliant, but a new half-hearted exhibition fails to honor the fearless band.",
"title": "Review: Gina Schock’s Photos of The Go-Go’s at Saint Joseph’s | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Go-Go’s Photo Exhibit at Saint Joseph’s is a Missed Opportunity",
"datePublished": "2021-11-16T12:17:41-08:00",
"dateModified": "2024-01-11T13:11:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "gina-schock-the-go-gos-made-in-hollywood-book-exhibit-san-francisco",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13906092/gina-schock-the-go-gos-made-in-hollywood-book-exhibit-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Go-Go’s, in many ways, were the rock band equivalent of that kid in your high school who got straight As while also regularly ditching class and smoking under the bleachers. It’s easy to forget how exceptional they were because they always maintained a casual air of being scrappy and relatable.\u003c/p>\n\u003cp>In reality, The Go-Go’s are, to this day, the only all-female band to reach the top of the Billboard album chart while playing their own instruments and writing their own songs. Vocalist Belinda Carlisle, bassist Kathy Valentine, guitarists Charlotte Caffey and Jane Wiedlin, and drummer Gina Schock did that in 1982 with their first album, \u003cem>Beauty and the Beat\u003c/em>. It stayed at number one for six weeks, went double platinum in the U.S., and is still considered one of the most successful debuts of all time. In October, \u003ca href=\"https://www.rockhall.com/class-2021-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">the band was finally inducted into the Rock and Roll Hall of Fame\u003c/a>, and Schock marked the event by releasing a book of her photos documenting the band’s history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902953",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>If you’ve seen that book, \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Made In Hollywood: All Access with the Go-Go’s\u003c/em>\u003c/a>, you already know that Schock’s photos are amazing. They’re funny and gritty and honest. They’re images of the band at their most beautiful and their most disheveled. These are shots of The Go-Go’s clowning around, doing blow, goofing off, and scowling from the back of the van. And together, they provide a perfect snapshot of five women boldly going where few women had gone before.\u003c/p>\n\u003cp>As Valentine notes in the foreword: “It’s one thing to casually take pictures; it’s another thing altogether when the photographer is one of you … It’s the photos, from behind the scenes, that tell the most evocative accounts.”\u003c/p>\n\u003cp>To celebrate the book and the band, \u003ca href=\"https://saintjosephsartssociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Saint Joseph’s Art Society\u003c/a>—a converted Catholic church refurbished, luxuriantly, by designer Ken Fulk—is exhibiting \u003cem>Gina Schock: Made in Hollywood\u003c/em>. But the way Schock’s work is presented in the space only serves to minimize it, the way that so many have minimized the work of The Go-Go’s before.\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 bulk of Schock’s photos are contained, in their original (very small) sizes, under ten 24-by-24-inch glass panels arranged on a large upstairs dining table. The horizontal presentation would be reminiscent of an end-of-year middle school art show if only the lighting wasn’t so bad. Picture the kind of dimness that your mother tells you not to read in lest you strain your eyes, combined with aggressive spotlights that reflect off the glass and obscure the images further. Trying to view Schock’s photography in this way is an exercise in pure frustration. (One can only imagine how much worse it is for wheelchair users who aren’t able to stand and bend double over the table.)\u003c/p>\n\u003cfigure id=\"attachment_13906152\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png\" alt=\"People look down on a table where the photographs are displayed under glass.\" width=\"1598\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1536x946.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">The dimly lit dining table of doom. \u003ccite>(Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriatingly, there are tantalizing glimpses of what this exhibit could have been. Like the four Polaroids blown up, framed and hung on the wall at a scale and angle where you can actually see what’s happening in them. For a moment, I thought these images—of hot tub tomfoolery, and of The Go-Go’s hanging with Joan Jett, Charlie Watts and Bill Wyman from the Rolling Stones—were leading to a space where there would be more like them. Instead, they led me directly into the bathroom. It’s clear that putting this exhibit directly next to the john was not a winking, knowing nod to first-wave punk sensibilities. It feels more like no one could be bothered to make space for it anywhere else in this giant building.\u003c/p>\n\u003cfigure id=\"attachment_13906161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png\" alt=\"Two framed photos hang on a pink wall. One shows Joan Jett and Gina Schock in the '80s, smiling with their arms around each other. The other shows The Go-Go's horsing around in a hot tub.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Schock’s Polaroids blown up to a scale where people can actually see and enjoy them. Why didn’t someone just run to Kinko’s and make more of these? \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Made in Hollywood\u003c/em>’s opening night—Saturday, Nov. 13—Gina Schock was present to sign copies of her book and conduct an hour-long interview with \u003cem>San Francisco Chronicle\u003c/em> columnist Tony Bravo. Schock enthusiastically talked about the book, her background in Baltimore, her life in bands, young Jodie Foster’s honorary status as “the sixth Go-Go,” Jane Fonda’s secret smoking habits, and being only the \u003ci>second\u003c/i> female drummer inducted into the Rock and Roll Hall of Fame. (“Now that we can vote for everything,” Schock noted, “we wanna get the B-52’s in, we wanna get Cher, we wanna get Suzi Quatro. We’ve got a list of the girls that we want to get in there who should already be in there. Hopefully we can help change things.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13906078",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Schock radiates an infectious high energy and her on-stage charm made a visit to the opening worthwhile. But without her presence, the show falls flat in a way that shouldn’t be possible with a photo collection this fearless. (Only on my third go around the dining table did I notice Belinda Carlisle labeled as “Bighead” on one Polaroid.) If you want to see Schock’s photos in a context that actually does them justice, buying her new book or watching Showtime’s warts-and-all documentary \u003ca href=\"https://www.youtube.com/watch?v=GsiRfL11I08\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Go-Go’s\u003c/em>\u003c/a>, are both much better options than a visit to Saint Joseph’s. Schock’s work and The Go-Go’s legacy deserve more fanfare—and much more wall space—than this.\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>‘Made In Hollywood: All Access with the Go-Go’s’ is out now through \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Dog & Leventhal\u003c/a>. Photos and posters from the book are on view at Saint Joseph’s Art Society (1401 Howard St., San Francisco) through Dec. 23.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906092/gina-schock-the-go-gos-made-in-hollywood-book-exhibit-san-francisco",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_10278",
"arts_822",
"arts_913"
],
"featImg": "arts_13906162",
"label": "arts"
},
"arts_13906078": {
"type": "posts",
"id": "arts_13906078",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906078",
"score": null,
"sort": [
1636584878000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1636584878,
"format": "standard",
"title": "Screen Smudges Become the Subject in Tabitha Soren’s ‘Surface Tension’",
"headTitle": "Screen Smudges Become the Subject in Tabitha Soren’s ‘Surface Tension’ | KQED",
"content": "\u003cp>What do we see when we look at an image: its content, its colors, its composition? How much of that do we skip over and ignore? In most cases, we’re looking \u003ci>through\u003c/i> something to get at our main objective; a bit of Plexiglas sits in front of an artwork, hoping to become invisible. A transparent film coats a phone’s screen, hoping to protect its surface from sudden shocks.\u003c/p>\n\u003cp>I’m constantly looking through the dust and smudges on my glasses to see the world around me, completely forgetting my view is edged by rims. Inevitably, the detritus becomes too distracting. The surface catches the light and supplants the image, reminding me of the corrective lenses enabling my sight.\u003c/p>\n\u003cp>At the Mills College Art Museum, Bay Area artist Tabitha Soren’s solo exhibition \u003ci>\u003ca href=\"https://mcam.mills.edu/about/tabitha-soren-surface-tension.php\" rel=\"noopener noreferrer\" target=\"_blank\">Surface Tension\u003c/a>\u003c/i> draws from the multiple meanings implied in her title. The show is made up of photographs of Soren’s iPad, all shot on film, which capture both the surface of the tablet after varying periods of use and the images displayed on its screen. No sleek Cupertino-designed edges betray this setup, but our well-trained eyes immediately recognize a mash of digital and physical. Within the layers of those two things are all manner of additional subjects: fingerprints, smeary swipes, glitchy effects caused by light and oily residue, the orderly grid of pixels. \u003c/p>\n\u003cfigure id=\"attachment_13906085\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Image-2_Soren_1200.jpg\" alt=\"Smears over a photo of a burning store and car.\" width=\"1200\" height=\"904\" class=\"size-full wp-image-13906085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-768x579.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tabitha Soren, ‘twitter.com/paradise_ca,’ 2019. \u003ccite>(Courtesy of the artist and Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soren’s “surface” is the iPad, but also the depth of engagement we often have with what we see on those screens. Some of the tension comes from the drama in the images she appropriates: tender moments, man-made natural disasters, scenes of protest, a world in ceaseless flux. There is also tension in the relationship Soren creates between the randomized and flat interaction of a person’s fingers and the real world events happening beyond their reach. \u003c/p>\n\u003cp>The pawed-over smears of \u003ci>Katie’s Vacation Phone Photo\u003c/i>, an icy landscape seen from water, encapsulate the futility of trying to grasp something so monumental as warming seas and shrinking ice caps. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition zooms in (a giant hand doing a reverse pinching gesture) from the global effects of human touch to everyday moments of physical closeness. In the gallery’s center, a display of hanging prints backed by mirrored plastic features scenes of mass gatherings—the Women’s March, Black Lives Matter protests, Parkland students holding a vigil one year after the shooting. Our own faces appear distorted in this presentation, further questioning our relationship to these events.\u003c/p>\n\u003cfigure id=\"attachment_13906084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200.jpg\" alt=\"Framed photographs hang on two walls, suspended prints hang from ceiling.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13906084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Tabitha Soren: Surface Tension’ at Mills College Art Museum. \u003ccite>(Michael Halberstadt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the subject matter in the images she screen-shot, saved and repurposed for \u003ci>Surface Tension\u003c/i> is important to the project, my favorite moments in the show come from the breakdown of those images. Moments when the red, green and blue subpixels of the LCD screen seem to disobey their function. Places where the neat mesh of the grid dissolves like a snarled net—a messy interplay of studio lights, oily refraction and electronics. A blown-up image of a smeary eye greets visitors to the exhibition, cast in searing shades of red and blue and resembling, more than anything, the grimy decadence of a Marilyn Minter painting.\u003c/p>\n\u003cp>These excitingly chaotic effects are countered by the exhibition’s \u003ci>Narcissus\u003c/i> installation, a darkened room of projected video and three prints of marks on black screens, laid face-up on the gallery floor. It’s meant as a respite, a literal space for reflection (whether of your own face, like the mythological youth, or just a mental break from the charged images outside). For me, even this stripped-down display contains too much information to be truly relaxing. Bean bag chairs can only get you so far. At the same time, \u003ci>Narcissus\u003c/i> is too engineered to convey the frantic distraction of being extremely online, an ineffable quality Soren successfully captures elsewhere.\u003c/p>\n\u003cfigure id=\"attachment_13906086\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200.jpg\" alt=\"Projected video of moonlight on a lake with three large photographs of fingerprints on the floor.\" width=\"1200\" height=\"715\" class=\"size-full wp-image-13906086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-800x477.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-1020x608.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-768x458.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Narcissus’ at Mills College Art Museum. \u003ccite>(Michael Halberstadt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stepping back into the light of \u003ci>Surface Tension\u003c/i>, the show’s strongest elements emerge as an attempt to reconcile our digital and physical actions. Even though these are not our pictures or our fingerprints, we’re implicated throughout. We carry bootlegs of these artworks around in our pockets. Angle your phone’s surface this way and that to catch the accumulated marks that show your swipes; your double taps; your scrolling down, down, down for that lost hour that felt like a few minutes. \u003c/p>\n\u003cp>Traces of touch are all over our devices. Highlighting these signs of life with raking light, Soren’s photographs ask what we’re not touching in their stead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Tabitha Soren: Surface Tension’ is on view at the Mills College Art Museum through Dec. 12, 2021. \u003ca href=\"https://mcam.mills.edu/about/tabitha-soren-surface-tension.php\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 839,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705007495,
"excerpt": "A solo exhibition at the Mills College Art Museum attempts to reconcile our physical and digital actions.",
"headData": {
"twImgId": "",
"twTitle": "Screen Smudges Become the Subject in Tabitha Soren’s ‘Surface Tension’",
"socialTitle": "Review: Tabitha Soren Turns Her Camera on Screen Smudges %%page%% %%sep%% KQED",
"ogTitle": "Screen Smudges Become the Subject in Tabitha Soren’s ‘Surface Tension’",
"ogImgId": "",
"twDescription": "",
"description": "A solo exhibition at the Mills College Art Museum attempts to reconcile our physical and digital actions.",
"title": "Review: Tabitha Soren Turns Her Camera on Screen Smudges | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Screen Smudges Become the Subject in Tabitha Soren’s ‘Surface Tension’",
"datePublished": "2021-11-10T14:54:38-08:00",
"dateModified": "2024-01-11T13:11:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tabitha-soren-surface-tension-mills-college-art-museum-review",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"WpOldSlug": "tabitha-sorens-surface-tension-mills-college-art-museum-review",
"path": "/arts/13906078/tabitha-soren-surface-tension-mills-college-art-museum-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do we see when we look at an image: its content, its colors, its composition? How much of that do we skip over and ignore? In most cases, we’re looking \u003ci>through\u003c/i> something to get at our main objective; a bit of Plexiglas sits in front of an artwork, hoping to become invisible. A transparent film coats a phone’s screen, hoping to protect its surface from sudden shocks.\u003c/p>\n\u003cp>I’m constantly looking through the dust and smudges on my glasses to see the world around me, completely forgetting my view is edged by rims. Inevitably, the detritus becomes too distracting. The surface catches the light and supplants the image, reminding me of the corrective lenses enabling my sight.\u003c/p>\n\u003cp>At the Mills College Art Museum, Bay Area artist Tabitha Soren’s solo exhibition \u003ci>\u003ca href=\"https://mcam.mills.edu/about/tabitha-soren-surface-tension.php\" rel=\"noopener noreferrer\" target=\"_blank\">Surface Tension\u003c/a>\u003c/i> draws from the multiple meanings implied in her title. The show is made up of photographs of Soren’s iPad, all shot on film, which capture both the surface of the tablet after varying periods of use and the images displayed on its screen. No sleek Cupertino-designed edges betray this setup, but our well-trained eyes immediately recognize a mash of digital and physical. Within the layers of those two things are all manner of additional subjects: fingerprints, smeary swipes, glitchy effects caused by light and oily residue, the orderly grid of pixels. \u003c/p>\n\u003cfigure id=\"attachment_13906085\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Image-2_Soren_1200.jpg\" alt=\"Smears over a photo of a burning store and car.\" width=\"1200\" height=\"904\" class=\"size-full wp-image-13906085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Image-2_Soren_1200-768x579.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tabitha Soren, ‘twitter.com/paradise_ca,’ 2019. \u003ccite>(Courtesy of the artist and Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soren’s “surface” is the iPad, but also the depth of engagement we often have with what we see on those screens. Some of the tension comes from the drama in the images she appropriates: tender moments, man-made natural disasters, scenes of protest, a world in ceaseless flux. There is also tension in the relationship Soren creates between the randomized and flat interaction of a person’s fingers and the real world events happening beyond their reach. \u003c/p>\n\u003cp>The pawed-over smears of \u003ci>Katie’s Vacation Phone Photo\u003c/i>, an icy landscape seen from water, encapsulate the futility of trying to grasp something so monumental as warming seas and shrinking ice caps. \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 exhibition zooms in (a giant hand doing a reverse pinching gesture) from the global effects of human touch to everyday moments of physical closeness. In the gallery’s center, a display of hanging prints backed by mirrored plastic features scenes of mass gatherings—the Women’s March, Black Lives Matter protests, Parkland students holding a vigil one year after the shooting. Our own faces appear distorted in this presentation, further questioning our relationship to these events.\u003c/p>\n\u003cfigure id=\"attachment_13906084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200.jpg\" alt=\"Framed photographs hang on two walls, suspended prints hang from ceiling.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13906084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Hanging-Photo-Sculpture_2021_Credit-Michael-Halberstadt_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Tabitha Soren: Surface Tension’ at Mills College Art Museum. \u003ccite>(Michael Halberstadt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the subject matter in the images she screen-shot, saved and repurposed for \u003ci>Surface Tension\u003c/i> is important to the project, my favorite moments in the show come from the breakdown of those images. Moments when the red, green and blue subpixels of the LCD screen seem to disobey their function. Places where the neat mesh of the grid dissolves like a snarled net—a messy interplay of studio lights, oily refraction and electronics. A blown-up image of a smeary eye greets visitors to the exhibition, cast in searing shades of red and blue and resembling, more than anything, the grimy decadence of a Marilyn Minter painting.\u003c/p>\n\u003cp>These excitingly chaotic effects are countered by the exhibition’s \u003ci>Narcissus\u003c/i> installation, a darkened room of projected video and three prints of marks on black screens, laid face-up on the gallery floor. It’s meant as a respite, a literal space for reflection (whether of your own face, like the mythological youth, or just a mental break from the charged images outside). For me, even this stripped-down display contains too much information to be truly relaxing. Bean bag chairs can only get you so far. At the same time, \u003ci>Narcissus\u003c/i> is too engineered to convey the frantic distraction of being extremely online, an ineffable quality Soren successfully captures elsewhere.\u003c/p>\n\u003cfigure id=\"attachment_13906086\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200.jpg\" alt=\"Projected video of moonlight on a lake with three large photographs of fingerprints on the floor.\" width=\"1200\" height=\"715\" class=\"size-full wp-image-13906086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-800x477.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-1020x608.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Narcissus_2021_Credit-Michael-Halberstadt_1200-768x458.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Narcissus’ at Mills College Art Museum. \u003ccite>(Michael Halberstadt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stepping back into the light of \u003ci>Surface Tension\u003c/i>, the show’s strongest elements emerge as an attempt to reconcile our digital and physical actions. Even though these are not our pictures or our fingerprints, we’re implicated throughout. We carry bootlegs of these artworks around in our pockets. Angle your phone’s surface this way and that to catch the accumulated marks that show your swipes; your double taps; your scrolling down, down, down for that lost hour that felt like a few minutes. \u003c/p>\n\u003cp>Traces of touch are all over our devices. Highlighting these signs of life with raking light, Soren’s photographs ask what we’re not touching in their stead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Tabitha Soren: Surface Tension’ is on view at the Mills College Art Museum through Dec. 12, 2021. \u003ca href=\"https://mcam.mills.edu/about/tabitha-soren-surface-tension.php\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906078/tabitha-soren-surface-tension-mills-college-art-museum-review",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_3648",
"arts_822",
"arts_769",
"arts_585"
],
"featImg": "arts_13906083",
"label": "arts_140"
},
"arts_13902953": {
"type": "posts",
"id": "arts_13902953",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13902953",
"score": null,
"sort": [
1634140852000
]
},
"guestAuthors": [],
"slug": "alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin",
"title": "A Portal to San Francisco’s Punk Rock Past",
"publishDate": 1634140852,
"format": "standard",
"headTitle": "A Portal to San Francisco’s Punk Rock Past | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13871151']The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cuteRr0eq5s&t=65s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>[aside postid='arts_13894169']\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "'Alternative Voices' offers an insider's look at 1980s San Francisco subculture through photos and interviews. ",
"status": "publish",
"parent": 0,
"modified": 1726771261,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1139
},
"headData": {
"title": "Punk Rock Photos from 1980s San Francisco on View | KQED",
"description": "'Alternative Voices' offers an insider's look at 1980s San Francisco subculture through photos and interviews. ",
"ogTitle": "A Portal to San Francisco’s Punk Rock Past",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A Portal to San Francisco’s Punk Rock Past",
"twDescription": "",
"twImgId": "",
"socialTitle": "Punk Rock Photos from 1980s San Francisco on View %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Portal to San Francisco’s Punk Rock Past",
"datePublished": "2021-10-13T09:00:52-07:00",
"dateModified": "2024-09-19T11:41:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13871151",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\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/cuteRr0eq5s'\n title='//www.youtube.com/embed/cuteRr0eq5s'\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>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894169",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_7862",
"arts_75"
],
"tags": [
"arts_9964",
"arts_10278",
"arts_822",
"arts_913",
"arts_1146",
"arts_3573"
],
"featImg": "arts_13904503",
"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=photography": {
"isFetching": false,
"latestQuery": {
"from": 108,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 201,
"relation": "eq"
},
"items": [
"arts_13920320",
"arts_13920345",
"arts_13920049",
"arts_13920105",
"arts_13916039",
"arts_13915084",
"arts_13914683",
"arts_13912887",
"arts_13908113",
"arts_13906092",
"arts_13906078",
"arts_13902953"
],
"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_photography": {
"isLoading": true
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
},
"source_arts_13920320": {
"type": "terms",
"id": "source_arts_13920320",
"meta": {
"override": true
},
"name": "Rightnowish ",
"link": "https://www.kqed.org/podcasts/rightnowish",
"isLoading": false
},
"source_arts_13920345": {
"type": "terms",
"id": "source_arts_13920345",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"source_arts_13908113": {
"type": "terms",
"id": "source_arts_13908113",
"meta": {
"override": true
},
"name": "Rightnowish",
"link": "https://www.kqed.org/podcasts/rightnowish",
"isLoading": false
},
"arts_8720": {
"type": "terms",
"id": "arts_8720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rightnowish",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8732,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/program/rightnowish"
},
"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_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_21759": {
"type": "terms",
"id": "arts_21759",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21759",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Podcast",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Podcast Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21771,
"slug": "podcast",
"isLoading": false,
"link": "/arts/category/podcast"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_18829": {
"type": "terms",
"id": "arts_18829",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "18829",
"found": true
},
"relationships": {},
"featImg": null,
"name": "B-Love's Guesthouse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "B-Love's Guesthouse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 18841,
"slug": "b-loves-guesthouse",
"isLoading": false,
"link": "/arts/tag/b-loves-guesthouse"
},
"arts_4097": {
"type": "terms",
"id": "arts_4097",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4097",
"found": true
},
"relationships": {},
"featImg": null,
"name": "black history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "black history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4109,
"slug": "black-history",
"isLoading": false,
"link": "/arts/tag/black-history"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"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_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_2533": {
"type": "terms",
"id": "arts_2533",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2533",
"found": true
},
"relationships": {},
"featImg": null,
"name": "West Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "West Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2545,
"slug": "west-oakland",
"isLoading": false,
"link": "/arts/tag/west-oakland"
},
"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_12276": {
"type": "terms",
"id": "arts_12276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12276",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Explore the Bay Area culinary scene through KQED's food stories, recipes, dining experiences, and stories from the diverse tastemakers that define the Bay's cuisines.",
"title": "Bay Area Food Archives, Articles, News, and Reviews | KQED",
"ogDescription": null
},
"ttid": 12288,
"slug": "food",
"isLoading": false,
"link": "/arts/category/food"
},
"arts_4178": {
"type": "terms",
"id": "arts_4178",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4178",
"found": true
},
"relationships": {},
"featImg": null,
"name": "architecture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "architecture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4190,
"slug": "architecture",
"isLoading": false,
"link": "/arts/tag/architecture"
},
"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_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"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_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_1331": {
"type": "terms",
"id": "arts_1331",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1331",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1343,
"slug": "bay-area",
"isLoading": false,
"link": "/arts/tag/bay-area"
},
"arts_7496": {
"type": "terms",
"id": "arts_7496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fremont",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fremont Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7508,
"slug": "fremont",
"isLoading": false,
"link": "/arts/tag/fremont"
},
"arts_9510": {
"type": "terms",
"id": "arts_9510",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9510",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sfsu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sfsu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9522,
"slug": "sfsu",
"isLoading": false,
"link": "/arts/tag/sfsu"
},
"arts_1556": {
"type": "terms",
"id": "arts_1556",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1556",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drag",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drag Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1568,
"slug": "drag",
"isLoading": false,
"link": "/arts/tag/drag"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_8054": {
"type": "terms",
"id": "arts_8054",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8054",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1990s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1990s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8066,
"slug": "1990s",
"isLoading": false,
"link": "/arts/tag/1990s"
},
"arts_6222": {
"type": "terms",
"id": "arts_6222",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "90s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "90s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6234,
"slug": "90s",
"isLoading": false,
"link": "/arts/tag/90s"
},
"arts_17868": {
"type": "terms",
"id": "arts_17868",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17868",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chloe Sherman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chloe Sherman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17880,
"slug": "chloe-sherman",
"isLoading": false,
"link": "/arts/tag/chloe-sherman"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_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_8291": {
"type": "terms",
"id": "arts_8291",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8291",
"found": true
},
"relationships": {},
"featImg": null,
"name": "subculture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "subculture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8303,
"slug": "subculture",
"isLoading": false,
"link": "/arts/tag/subculture"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_7221": {
"type": "terms",
"id": "arts_7221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sfpl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sfpl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7233,
"slug": "sfpl",
"isLoading": false,
"link": "/arts/tag/sfpl"
},
"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_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"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_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_6764": {
"type": "terms",
"id": "arts_6764",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6764",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/Rightnowish-Link-for-Social.jpg",
"name": "Rightnowish",
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs. ",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs.",
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6776,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/tag/rightnowish"
},
"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_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_9964": {
"type": "terms",
"id": "arts_9964",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9964",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9976,
"slug": "bay-area-punk",
"isLoading": false,
"link": "/arts/tag/bay-area-punk"
},
"arts_3573": {
"type": "terms",
"id": "arts_3573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Public Library",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Public Library Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3585,
"slug": "san-francisco-public-library",
"isLoading": false,
"link": "/arts/tag/san-francisco-public-library"
}
},
"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": {}
}
}
}