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_13858816": {
"type": "attachments",
"id": "arts_13858816",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13858816",
"found": true
},
"parent": 13858815,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-e1559585396690.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1559585335,
"modified": 1559585388,
"caption": "Asante Blackk plays young Kevin Richardson, one of the boys imprisoned for years only to be released when another man finally confessed.",
"description": "Asante Blackk plays young Kevin Richardson, one of the boys imprisoned for years only to be released when another man finally confessed.",
"title": "Asante Blackk plays young Kevin Richardson, one of the boys imprisoned for years only to be released when another man finally confessed.",
"credit": "Atsushi Nishijima/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13855696": {
"type": "attachments",
"id": "arts_13855696",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13855696",
"found": true
},
"parent": 13855694,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687-1030x576.jpg",
"width": 1030,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687.jpg",
"width": 1030,
"height": 687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1556060952,
"modified": 1556061001,
"caption": "The Bay Area Book Festival is expected to draw 35,000 people to downtown Berkeley.",
"description": "The Bay Area Book Festival is expected to draw 35,000 people to downtown Berkeley.",
"title": "BABF-Outdoor-Fair-photo-by-Michael-Hitchner-1030x687",
"credit": "Michael Hitchner/Courtesy Bay Area Book Festival",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13854823": {
"type": "attachments",
"id": "arts_13854823",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13854823",
"found": true
},
"parent": 13854812,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/04/KeakMAIN-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1555015267,
"modified": 1555015291,
"caption": null,
"description": null,
"title": "KeakMAIN",
"credit": "Nastia Voynovskaya",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852742": {
"type": "attachments",
"id": "arts_13852742",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852742",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-160x108.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 108
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8.jpg",
"width": 1920,
"height": 1300
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1020x691.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 691
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1200x813.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 813
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-800x542.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 542
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1920x1300.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1300
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-768x520.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 520
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552377026,
"modified": 1552850397,
"caption": "Inmates and correctional officers sang side-by-side at a 1992 concert inside San Quentin State Prison, organized by the Grateful Dead.",
"description": "Inmates and correctional officers sang side-by-side at a 1992 concert inside San Quentin State Prison, organized by the Grateful Dead.",
"title": "San Quentin Gospel Grateful Dead",
"credit": "Susana Millman",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13849509": {
"type": "attachments",
"id": "arts_13849509",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13849509",
"found": true
},
"parent": 13849409,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206.jpg",
"width": 1080,
"height": 608
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/IMG_5206-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1548658011,
"modified": 1555018218,
"caption": "Rapper Keak Da Sneak worries that California correctional facilities have little compassion for inmates with disabilities. ",
"description": "Rapper Keak Da Sneak worries that California correctional facilities have little compassion for inmates with disabilities. ",
"title": "IMG_5206",
"credit": "Joel Galvan",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13849560": {
"type": "attachments",
"id": "arts_13849560",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13849560",
"found": true
},
"parent": 13849409,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_.jpg",
"width": 1080,
"height": 608
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/Keak.MAIN_.rev_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1548699934,
"modified": 1570046615,
"caption": "Rapper Keak Da Sneak.",
"description": "Rapper Keak Da Sneak worries that California correctional facilities have little compassion for inmates with disabilities. ",
"title": "Keak.MAIN.rev",
"credit": "Joel Galvan",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13823256": {
"type": "attachments",
"id": "arts_13823256",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13823256",
"found": true
},
"parent": 13823134,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876.jpg",
"width": 1817,
"height": 1024
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/180130-Boat-View-e1517423422876-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1517423268,
"modified": 1517426816,
"caption": "A view from the water of the proposed Alcatraz ferry landing and welcome center at Pier 31 1/2 on San Francisco's Embarcadero.",
"description": "A view from the water of the proposed Alcatraz ferry landing and welcome center at Pier 3`1 1/2 on San Francisco's Embarcadero.",
"title": "180130- Boat View",
"credit": "Photo: Courtesy of EHDD Architects",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13818875": {
"type": "attachments",
"id": "arts_13818875",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13818875",
"found": true
},
"parent": 13818873,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717.jpg",
"width": 1817,
"height": 1024
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-1920x1308.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1308
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-1920x1308.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1308
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/18.-Glenn-Sherley-with-Johnny-Cash-by-Dan-Poush-e1515635644717-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1515635444,
"modified": 1515635792,
"caption": "Johnny Cash with Glen Sherley. The famous singer met the convict the day he recorded his legendary album ‘Johnny Cash at Folsom Prison’ on January 13 1968. ",
"description": "Johnny Cash with Glen Sherley. The famous singer met the convict the day he recorded his legendary album Johnny Cash at Folsom Prison on January 13 1968. ",
"title": "Johnny Cash with Glen Sherley",
"credit": "Photo: Dan Poush",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13808999": {
"type": "attachments",
"id": "arts_13808999",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13808999",
"found": true
},
"parent": 13808936,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Alcatraz.MAIN_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1505856245,
"modified": 1505856358,
"caption": "Watani Stiner visits Alcatraz State Prison in August. While incarcerated at San Quentin, Stiner took part in Brothers in Pens, a writing and art program.",
"description": "Watani Stiner visits Alcatraz State Prison in August. While incarcerated at San Quentin, Stiner took part in Brothers in Pens, a writing and art program.",
"title": "Alcatraz.MAIN",
"credit": "Pendarvis Harshaw",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12605436": {
"type": "attachments",
"id": "arts_12605436",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12605436",
"found": true
},
"parent": 12603270,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-520x345.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 345
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-960x636.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 636
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-375x248.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 248
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut.jpg",
"width": 1920,
"height": 1272
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-1020x676.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 676
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-1180x782.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 782
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-800x530.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 530
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-1920x1272.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1272
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-1180x782.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 782
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-1920x1272.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1272
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-768x509.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 509
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/01/RS23529_DSC_9861-qut-240x159.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 159
}
},
"publishDate": 1484029827,
"modified": 1484084916,
"caption": "The art installation \"Shortening: Making the Irrational Rational\" hangs in the New Industries Building on Alcatraz Island through Sunday, Feb. 5. The piece combines math and prison vernacular to protest long sentences for nonviolent drug offenders.",
"description": "The art installation \"Shortening: Making the Irrational Rational\" hangs in the New Industries Building on Alcatraz Island through Sunday, Feb. 5. The piece combines math and prison vernacular to protest long sentences for nonviolent drug offenders.",
"title": "Shortening",
"credit": "Photo: Ryan Levi/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12168843": {
"type": "attachments",
"id": "arts_12168843",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12168843",
"found": true
},
"parent": 12164405,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Wayne.Prison.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1475795228,
"modified": 1475795267,
"caption": "Lil Wayne arrives at New York State Supreme Court to begin serving a 1 year prison sentence for possession of an illegal weapon on March 8, 2010, in New York City. ",
"description": "Lil Wayne arrives at New York State Supreme Court to begin serving a 1 year prison sentence for possession of an illegal weapon on March 8, 2010, in New York City. ",
"title": "Wayne.Prison.MAIN",
"credit": "Jemal Countess/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13858815": {
"type": "authors",
"id": "byline_arts_13858815",
"meta": {
"override": true
},
"slug": "byline_arts_13858815",
"name": "Eric Deggans",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"slefebvre": {
"type": "authors",
"id": "11091",
"meta": {
"index": "authors_1716337520",
"id": "11091",
"found": true
},
"name": "Sam Lefebvre",
"firstName": "Sam",
"lastName": "Lefebvre",
"slug": "slefebvre",
"email": "sdlefebvre@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.",
"avatar": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g",
"twitter": "Lefebvre_Sam",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Sam Lefebvre | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/slefebvre"
},
"rlevi": {
"type": "authors",
"id": "11260",
"meta": {
"index": "authors_1716337520",
"id": "11260",
"found": true
},
"name": "Ryan Levi",
"firstName": "Ryan",
"lastName": "Levi",
"slug": "rlevi",
"email": "rlevi@KQED.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Ryan Levi was a reporter and podcast producer at KQED News from 2016-2019. He worked on \u003ca href=\"https://www.kqed.org/news/series/baycurious\">Bay Curious\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/the-bay/\">The Bay, \u003c/a>and \u003ca href=\"https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545\">The California Report Magazine\u003c/a>, as well as hosting and producing the weekly \u003ca href=\"https://www.kqed.org/news/program/qedup/\">Q'ed Up podcast. \u003c/a>He also helped inaugurate KQED's weekend news coverage in 2017 as one of two original digital producers. Ryan holds degrees in multimedia journalism and Spanish from the University of Missouri.",
"avatar": "https://secure.gravatar.com/avatar/4cb2ddd028ac8807d1adf09609c5555d?s=600&d=blank&r=g",
"twitter": "ryan_levi",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "perspectives",
"roles": [
"administrator"
]
}
],
"headData": {
"title": "Ryan Levi | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/4cb2ddd028ac8807d1adf09609c5555d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/4cb2ddd028ac8807d1adf09609c5555d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rlevi"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"pagesReducer": {
"arts_tag_prison": {
"type": "terms",
"id": "arts_1526",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1526",
"score": 8.560578
},
"featImg": null,
"name": "prison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "prison Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1538,
"slug": "prison",
"isLoading": false,
"title": "prison",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 5
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=prison",
"seeMore": false,
"paginated": true,
"page": 5
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://hls.kqed.org/hls/kqed_app/playlist.m3u8",
"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_13858815": {
"type": "posts",
"id": "arts_13858815",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13858815",
"score": null,
"sort": [
1559585890000
]
},
"guestAuthors": [],
"slug": "horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us",
"title": "Horrors And Humanity In Ava DuVernay's Gripping 'When They See Us'",
"publishDate": 1559585890,
"format": "standard",
"headTitle": "Horrors And Humanity In Ava DuVernay’s Gripping ‘When They See Us’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>[aside postID='arts_13844441' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/Nijla_BTL_Thumbnail-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>[aside postID='arts_13820054' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg' target='_blank']\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"blocks": [],
"excerpt": "Ava DuVernay's powerful Netflix series shows a system that frequently fails men of color — and the costs of that system to a famous group of boys who were in the wrong place at the wrong time.",
"status": "publish",
"parent": 0,
"modified": 1726766888,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1191
},
"headData": {
"title": "Horrors And Humanity In Ava DuVernay's Gripping 'When They See Us' | KQED",
"description": "Ava DuVernay's powerful Netflix series shows a system that frequently fails men of color — and the costs of that system to a famous group of boys who were in the wrong place at the wrong time.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Horrors And Humanity In Ava DuVernay's Gripping 'When They See Us'",
"datePublished": "2019-06-03T11:18:10-07:00",
"dateModified": "2024-09-19T10:28:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Atsushi Nishijima",
"nprByline": "Eric Deggans",
"nprImageAgency": "Netflix",
"nprStoryId": "728237648",
"nprApiLink": "http://api.npr.org/query?id=728237648&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/06/01/728237648/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us?ft=nprml&f=728237648",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 01 Jun 2019 05:01:00 -0400",
"nprStoryDate": "Sat, 01 Jun 2019 05:01:18 -0400",
"nprLastModifiedDate": "Sat, 01 Jun 2019 05:01:18 -0400",
"path": "/arts/13858815/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\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>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13844441",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/Nijla_BTL_Thumbnail-1920x1080.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13820054",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\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>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13858815/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us",
"authors": [
"byline_arts_13858815"
],
"categories": [
"arts_75",
"arts_990"
],
"tags": [
"arts_3850",
"arts_1753",
"arts_1118",
"arts_596",
"arts_1526"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13858816",
"label": "arts_137"
},
"arts_13855694": {
"type": "posts",
"id": "arts_13855694",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13855694",
"score": null,
"sort": [
1556204447000
]
},
"guestAuthors": [],
"slug": "incarceration-takes-center-stage-at-the-bay-area-book-festival",
"title": "Incarceration Takes Center Stage at the Bay Area Book Festival",
"publishDate": 1556204447,
"format": "standard",
"headTitle": "Incarceration Takes Center Stage at the Bay Area Book Festival | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>In 1972, Albert Woodfox was wrongly accused of killing a white prison guard and sentenced to life in solitary confinement. In his memoir, \u003cem>Solitary\u003c/em>, published after the courts overturned his conviction and he was released in 2016, the Black Panther Party member recounted his political awakening while incarcerated in a prison built on the former site of a slave plantation, Angola. \u003c/p>\n\u003cp>Fast-forward to 2018, when Shane Bauer, a reporter with \u003cem>Mother Jones\u003c/em>, explores the connection between slavery and for-profit incarceration in his book \u003cem>American Prison\u003c/em>, based in part on his experience embedded as a corrections officer. Bauer, who was confined himself in Iran, details a quintessentially American story “wherein white people continue to reinvent ways to cash in on captive human beings.” \u003c/p>\n\u003cp>Bauer will interview Woodfox on Sunday, May 5 during the Bay Area Book Festival, one of the event’s many author conversations and panels centered on incarceration in the United States. On Saturday evening, Woodfox joins activist Tony Platt and professor Lara Bazelon to imagine alternatives to imprisonment, while Bauer discusses \u003cem>American Prison\u003c/em> earlier in the day.\u003c/p>\n\u003cp>There’s nearly 500 speakers and exhibitors at the Bay Area Book Festival, and other programming themes include immigration, children and women’s and black interest. There’s a new “Writer to Writer” series, pairing mutual admirers such as Ishmael Reed and Morgan Parkers in conversation, special events including tributes to Lawrence Ferlinghetti and \u003cem>The Paris Review\u003c/em> and a screening of \u003cem>The Worlds of Ursula K. Le Guin\u003c/em> followed by discussion. \u003c/p>\n\u003cp>The fifth annual Bay Area Book Festival takes place on Saturday and Sunday, May 4 and 5, in downtown Berkeley. Expected to draw 35,000 people, the festival recommends public transportation. Find details including venues, ticketing options, accessibility and a full list of talks and vendors \u003ca href=\"https://www.baybookfest.org/\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The fifth annual Berkeley event features nearly 500 speakers and exhibitors. ",
"status": "publish",
"parent": 0,
"modified": 1726767072,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 309
},
"headData": {
"title": "Incarceration Takes Center Stage at the Bay Area Book Festival | KQED",
"description": "The fifth annual Berkeley event features nearly 500 speakers and exhibitors. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Incarceration Takes Center Stage at the Bay Area Book Festival",
"datePublished": "2019-04-25T08:00:47-07:00",
"dateModified": "2024-09-19T10:31:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13855694/incarceration-takes-center-stage-at-the-bay-area-book-festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1972, Albert Woodfox was wrongly accused of killing a white prison guard and sentenced to life in solitary confinement. In his memoir, \u003cem>Solitary\u003c/em>, published after the courts overturned his conviction and he was released in 2016, the Black Panther Party member recounted his political awakening while incarcerated in a prison built on the former site of a slave plantation, Angola. \u003c/p>\n\u003cp>Fast-forward to 2018, when Shane Bauer, a reporter with \u003cem>Mother Jones\u003c/em>, explores the connection between slavery and for-profit incarceration in his book \u003cem>American Prison\u003c/em>, based in part on his experience embedded as a corrections officer. Bauer, who was confined himself in Iran, details a quintessentially American story “wherein white people continue to reinvent ways to cash in on captive human beings.” \u003c/p>\n\u003cp>Bauer will interview Woodfox on Sunday, May 5 during the Bay Area Book Festival, one of the event’s many author conversations and panels centered on incarceration in the United States. On Saturday evening, Woodfox joins activist Tony Platt and professor Lara Bazelon to imagine alternatives to imprisonment, while Bauer discusses \u003cem>American Prison\u003c/em> earlier in the day.\u003c/p>\n\u003cp>There’s nearly 500 speakers and exhibitors at the Bay Area Book Festival, and other programming themes include immigration, children and women’s and black interest. There’s a new “Writer to Writer” series, pairing mutual admirers such as Ishmael Reed and Morgan Parkers in conversation, special events including tributes to Lawrence Ferlinghetti and \u003cem>The Paris Review\u003c/em> and a screening of \u003cem>The Worlds of Ursula K. Le Guin\u003c/em> followed by discussion. \u003c/p>\n\u003cp>The fifth annual Bay Area Book Festival takes place on Saturday and Sunday, May 4 and 5, in downtown Berkeley. Expected to draw 35,000 people, the festival recommends public transportation. Find details including venues, ticketing options, accessibility and a full list of talks and vendors \u003ca href=\"https://www.baybookfest.org/\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13855694/incarceration-takes-center-stage-at-the-bay-area-book-festival",
"authors": [
"11091"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73"
],
"tags": [
"arts_4574",
"arts_1270",
"arts_1118",
"arts_1526",
"arts_1334"
],
"featImg": "arts_13855696",
"label": "arts_140"
},
"arts_13854812": {
"type": "posts",
"id": "arts_13854812",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13854812",
"score": null,
"sort": [
1555015183000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1555015183,
"format": "aside",
"title": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle",
"headTitle": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak da Sneak began a 16-month prison sentence today after being taken into custody in Amador County.\u003c/p>\n\u003cp>In January, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that the rapper faced a prison sentence for possession of a firearm as a convicted felon. In a lengthy, \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">exclusive interview\u003c/a>, Keak, whose real name is Charles Kente Williams, went into detail about surviving two shootings which rendered him wheelchair-bound and in need of regular medical care for bed sores that could result in a life-threatening infection if left untended.\u003c/p>\n\u003cp>“I know they’re not gonna give me the treatment I need in prison,” he told me in January. “I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>Because of the extent of Williams’ disabilities, his legal team had lobbied for an alternative sentence of house arrest. The judge on the case delayed his sentencing date twice as he completed several medical procedures. Though Williams and his legal team had hoped for another outcome, today, Williams went into custody to begin his sentence, Amador County District Attorney Todd Riebe confirmed. He faces three years of parole once released.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spoke with folks from the California Department of Corrections and Rehabilitation,” Riebe said. “There are plenty of facilities that can take individuals in wheelchairs that need medical assistance on a daily basis.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I know the court has made orders for accommodations ahead of time, that any transportation is going to be medically complaint, that he has an adequate bed,” said Chief Assistant District Attorney Robert Trudgen. “I know efforts are at least being made.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13854824\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg\" alt=\"Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13854824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disability rights advocates, however, paint a different picture of the California state prison system. The California Department of Corrections and Rehabilitation’s medical system has been under federal monitoring since 2006, when a federal judge ruled it unconstitutionally inadequate and in violation of the 8th Amendment. \u003c/p>\n\u003cp>According to the ACLU, California state prisons are overcrowded, at 136.6 percent capacity. Quality of life for inmates with disabilities varies widely from facility to facility, and they often spend lengthy periods of time in highly restrictive reception centers—where they don’t have phone privileges and can only interact with visitors through glass—while the state assesses their medical needs and places them in an adequate facility. \u003c/p>\n\u003cp>“We are concerned how the state system would treat him because the CDCR is under a mandate, and are being monitored for not treating the prisoners well,” says Williams’ lawyer, Joanne Biernacki. “I’ve read reports on prisoners not doing well in the state prison system. The last thing I want is for him to go in and get sicker.”\u003c/p>\n\u003cp>“We were hoping for something better,” says Williams’ close collaborator Dontrell Mayfield, a.k.a. 4Rax of the production duo the Mekanix. “We talked to him yesterday and what was really the focal point was, ‘I’m ready to put this behind me.’ The clock is ticking and we gon’ pray for him and wait for him to come on out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Prior to starting his sentence, Williams worked on music and a documentary set to be released sometime during his term. As he explained in January, “It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 652,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705026344,
"excerpt": "Keak da Sneak began his 16-month sentence in California state prison today after lobbying for alternative sentencing due to his disabilities.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Keak da Sneak began his 16-month sentence in California state prison today after lobbying for alternative sentencing due to his disabilities.",
"title": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle",
"datePublished": "2019-04-11T13:39:43-07:00",
"dateModified": "2024-01-11T18:25:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "keak-da-sneak-begins-prison-sentence-after-lengthy-legal-battle",
"status": "publish",
"sticky": false,
"path": "/arts/13854812/keak-da-sneak-begins-prison-sentence-after-lengthy-legal-battle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak da Sneak began a 16-month prison sentence today after being taken into custody in Amador County.\u003c/p>\n\u003cp>In January, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that the rapper faced a prison sentence for possession of a firearm as a convicted felon. In a lengthy, \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">exclusive interview\u003c/a>, Keak, whose real name is Charles Kente Williams, went into detail about surviving two shootings which rendered him wheelchair-bound and in need of regular medical care for bed sores that could result in a life-threatening infection if left untended.\u003c/p>\n\u003cp>“I know they’re not gonna give me the treatment I need in prison,” he told me in January. “I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>Because of the extent of Williams’ disabilities, his legal team had lobbied for an alternative sentence of house arrest. The judge on the case delayed his sentencing date twice as he completed several medical procedures. Though Williams and his legal team had hoped for another outcome, today, Williams went into custody to begin his sentence, Amador County District Attorney Todd Riebe confirmed. He faces three years of parole once released.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spoke with folks from the California Department of Corrections and Rehabilitation,” Riebe said. “There are plenty of facilities that can take individuals in wheelchairs that need medical assistance on a daily basis.”\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\">“I know the court has made orders for accommodations ahead of time, that any transportation is going to be medically complaint, that he has an adequate bed,” said Chief Assistant District Attorney Robert Trudgen. “I know efforts are at least being made.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13854824\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg\" alt=\"Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13854824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disability rights advocates, however, paint a different picture of the California state prison system. The California Department of Corrections and Rehabilitation’s medical system has been under federal monitoring since 2006, when a federal judge ruled it unconstitutionally inadequate and in violation of the 8th Amendment. \u003c/p>\n\u003cp>According to the ACLU, California state prisons are overcrowded, at 136.6 percent capacity. Quality of life for inmates with disabilities varies widely from facility to facility, and they often spend lengthy periods of time in highly restrictive reception centers—where they don’t have phone privileges and can only interact with visitors through glass—while the state assesses their medical needs and places them in an adequate facility. \u003c/p>\n\u003cp>“We are concerned how the state system would treat him because the CDCR is under a mandate, and are being monitored for not treating the prisoners well,” says Williams’ lawyer, Joanne Biernacki. “I’ve read reports on prisoners not doing well in the state prison system. The last thing I want is for him to go in and get sicker.”\u003c/p>\n\u003cp>“We were hoping for something better,” says Williams’ close collaborator Dontrell Mayfield, a.k.a. 4Rax of the production duo the Mekanix. “We talked to him yesterday and what was really the focal point was, ‘I’m ready to put this behind me.’ The clock is ticking and we gon’ pray for him and wait for him to come on out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Prior to starting his sentence, Williams worked on music and a documentary set to be released sometime during his term. As he explained in January, “It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13854812/keak-da-sneak-begins-prison-sentence-after-lengthy-legal-battle",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_2173",
"arts_596",
"arts_1526"
],
"featImg": "arts_13854823",
"label": "arts"
},
"arts_13853019": {
"type": "posts",
"id": "arts_13853019",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13853019",
"score": null,
"sort": [
1552850638000
]
},
"guestAuthors": [],
"slug": "the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin",
"title": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin",
"publishDate": 1552850638,
"format": "standard",
"headTitle": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It all started with a feeling. \u003c/p>\n\u003cp>The year was 1992, and Grateful Dead manager Danny Rifkin was driving a van past San Quentin State Prison with the Gyuto Monks. According to Grateful Dead publicist Dennis McNally, “The monks saw the building and said, ‘We sense a lot of pain over there.'”\u003c/p>\n\u003cp>When Rifkin told them it was a prison, they asked to pull over for a puja, or healing prayer. Rifkin later connected with prison chaplain \u003ca href=\"http://www.chaplainearlsmith.com/\" rel=\"noopener\" target=\"_blank\">Earl Smith\u003c/a> to see about getting inside San Quentin, and he asked, “What’s the single best thing we can do?”\u003c/p>\n\u003cp>“And Earl said, ‘Convince these guys that they’re not here isolated for the rest of their lives, and that they still have a connection to the rest of the planet and society,'” McNally recalls. “Eventually, this led to Mickey Hart learning about their gospel choir.”\u003c/p>\n\u003cfigure id=\"attachment_13852759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg\" alt=\"Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of 'He's All I Need.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-13852759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of ‘He’s All I Need.’ \u003ccite>(Susana Millman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting concert inside San Quentin is a key moment in \u003cem>\u003ca href=\"https://www.facebook.com/invisiblebars/\" rel=\"noopener\" target=\"_blank\">Invisible Bars\u003c/a>\u003c/em>, a documentary by Bay Area filmmaker John Beck about the effect of prison on the families and children of the incarcerated. (It \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=25420\" rel=\"noopener\" target=\"_blank\">premieres on KQED TV\u003c/a> on Tuesday, March 19, at 11 p.m.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was an opportunity to leave there without leaving there, because you were in another place,” remembers Smith today. “We had a mix of staff and inmates doing what had never been done before. We had female staff members join the choir, and correctional officers playing the organ and drums.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nKLZHwr1Jj8\u003c/p>\n\u003cp>\u003cem>He’s All I Need\u003c/em>, a recording of the concert, was released by Grateful Dead Records in 1993. In the middle of some songs, inmates and prison staff alike tell short stories about their life at San Quentin, and testify to the Lord’s care. Looking back, “there was a magic about it,” says Smith, now the team chaplain for the Warriors and 49ers. \u003c/p>\n\u003cp>“Prison air is toxic, in so many cases, and what happened in that time, there was a breathing of clean air,” he adds.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13852737,13852743,13852750,13852740,13852745,13852752,13852739,13852754,13852744\"]\u003c/p>\n\u003cp>Another thing happened that day: Smith suggested to Rifkin that the Grateful Dead use their resources to help the children of inmates, who are at greater risk of landing in prison themselves. That eventually led to the creation of \u003ca href=\"http://www.projectavary.org/\" rel=\"noopener\" target=\"_blank\">Project Avary\u003c/a>, a nonprofit that provides support and guidance for children of incarcerated parents. \u003c/p>\n\u003cp>It’s the stories of those children shown in \u003cem>Invisible Bars\u003c/em>. (Public defender Jeff Adachi, who \u003ca href=\"https://www.kqed.org/news/11728381/san-francisco-public-defender-jeff-adachi-dies-at-age-59\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> in February, appears in the documentary as well.) And it all started with that day inside San Quentin, over 25 years ago.\u003c/p>\n\u003cp>“Even when you know that they’re going to let you out, when that door closes behind you, it is one cold feeling,” says McNally today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But at least for a day, there was a light in the middle of their dark, regular days. They felt it. And the audience in the chapel was just seized by the moment and the music.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "See inmates and prison guards singing side-by-side at the concert inside San Quentin State Prison.",
"status": "publish",
"parent": 0,
"modified": 1726767191,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 561
},
"headData": {
"title": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin | KQED",
"description": "See inmates and prison guards singing side-by-side at the concert inside San Quentin State Prison.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin",
"datePublished": "2019-03-17T12:23:58-07:00",
"dateModified": "2024-09-19T10:33:11-07:00",
"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/13853019/the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all started with a feeling. \u003c/p>\n\u003cp>The year was 1992, and Grateful Dead manager Danny Rifkin was driving a van past San Quentin State Prison with the Gyuto Monks. According to Grateful Dead publicist Dennis McNally, “The monks saw the building and said, ‘We sense a lot of pain over there.'”\u003c/p>\n\u003cp>When Rifkin told them it was a prison, they asked to pull over for a puja, or healing prayer. Rifkin later connected with prison chaplain \u003ca href=\"http://www.chaplainearlsmith.com/\" rel=\"noopener\" target=\"_blank\">Earl Smith\u003c/a> to see about getting inside San Quentin, and he asked, “What’s the single best thing we can do?”\u003c/p>\n\u003cp>“And Earl said, ‘Convince these guys that they’re not here isolated for the rest of their lives, and that they still have a connection to the rest of the planet and society,'” McNally recalls. “Eventually, this led to Mickey Hart learning about their gospel choir.”\u003c/p>\n\u003cfigure id=\"attachment_13852759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg\" alt=\"Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of 'He's All I Need.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-13852759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of ‘He’s All I Need.’ \u003ccite>(Susana Millman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting concert inside San Quentin is a key moment in \u003cem>\u003ca href=\"https://www.facebook.com/invisiblebars/\" rel=\"noopener\" target=\"_blank\">Invisible Bars\u003c/a>\u003c/em>, a documentary by Bay Area filmmaker John Beck about the effect of prison on the families and children of the incarcerated. (It \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=25420\" rel=\"noopener\" target=\"_blank\">premieres on KQED TV\u003c/a> on Tuesday, March 19, at 11 p.m.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was an opportunity to leave there without leaving there, because you were in another place,” remembers Smith today. “We had a mix of staff and inmates doing what had never been done before. We had female staff members join the choir, and correctional officers playing the organ and drums.”\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/nKLZHwr1Jj8'\n title='//www.youtube.com/embed/nKLZHwr1Jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>He’s All I Need\u003c/em>, a recording of the concert, was released by Grateful Dead Records in 1993. In the middle of some songs, inmates and prison staff alike tell short stories about their life at San Quentin, and testify to the Lord’s care. Looking back, “there was a magic about it,” says Smith, now the team chaplain for the Warriors and 49ers. \u003c/p>\n\u003cp>“Prison air is toxic, in so many cases, and what happened in that time, there was a breathing of clean air,” he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "slideshow",
"size": "full",
"ids": "13852737,13852743,13852750,13852740,13852745,13852752,13852739,13852754,13852744",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another thing happened that day: Smith suggested to Rifkin that the Grateful Dead use their resources to help the children of inmates, who are at greater risk of landing in prison themselves. That eventually led to the creation of \u003ca href=\"http://www.projectavary.org/\" rel=\"noopener\" target=\"_blank\">Project Avary\u003c/a>, a nonprofit that provides support and guidance for children of incarcerated parents. \u003c/p>\n\u003cp>It’s the stories of those children shown in \u003cem>Invisible Bars\u003c/em>. (Public defender Jeff Adachi, who \u003ca href=\"https://www.kqed.org/news/11728381/san-francisco-public-defender-jeff-adachi-dies-at-age-59\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> in February, appears in the documentary as well.) And it all started with that day inside San Quentin, over 25 years ago.\u003c/p>\n\u003cp>“Even when you know that they’re going to let you out, when that door closes behind you, it is one cold feeling,” says McNally today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But at least for a day, there was a light in the middle of their dark, regular days. They felt it. And the audience in the chapel was just seized by the moment and the music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13853019/the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin",
"authors": [
"185"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_1845",
"arts_596",
"arts_1526",
"arts_1985"
],
"featImg": "arts_13852742",
"label": "arts"
},
"arts_13850378": {
"type": "posts",
"id": "arts_13850378",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13850378",
"score": null,
"sort": [
1549584381000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1549584381,
"format": "aside",
"title": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility",
"headTitle": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak Da Sneak has caught a break from prison—for now.\u003c/p>\n\u003cp>Keak da Sneak was scheduled to begin a prison sentence in California’s Amador County earlier today, Feb. 7. But at his hearing, Judge J.S. Hermanson granted the “Super Hyphy” rapper an additional 60 days due to his medical condition. His new sentencing date is April 11.\u003c/p>\n\u003cp>Last week, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that Keak Da Sneak, a longtime fixture in Bay Area hip-hop, awaited a 16-month sentence in California state prison for possession of a firearm is a convicted felon. In an exclusive interview, Keak, whose real name is Charles Kente Williams, said that though California law prohibits him from owning a gun due to his criminal record, he took it upon himself to carry one for protection after surviving a shooting in Oakland in January 2017.\u003c/p>\n\u003cp>The criminal case against Williams began in March 2017 after a police officer searched his car at a gas station in Amador County and found the gun. As the case was ongoing, Williams’ health took a drastic turn for the worse. In August of that year, he was the victim of another shooting in Richmond. The incident left him in critical condition, and he now uses a wheelchair full-time, as well as a catheter and colostomy bag. A nurse comes to his house three times a week to clean his bed sores, which can lead to a dangerous infection if not cared for properly. [contextly_sidebar id=”YIUAUZvMN0J60n2f0nipIYPh9CJhf2QY”]\u003c/p>\n\u003cp>Because of the severity of his medical condition, Williams is lobbying for an alternative sentence of house arrest instead of prison time. According to disability rights experts, not all California state prisons are ADA accessible, and even fewer can accommodate an inmate who requires regular medical care for a chronic condition. The California Department of Corrections and Rehabilitation’s medical system has been \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">under federal oversight\u003c/a> since 2006, when a federal court ruled it unconstitutionally inadequate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Am I gonna get the treatment I’m getting out here? I don’t think so,” Williams said last week. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>After KQED broke the story, popular hip-hop publications like \u003cem>Vibe\u003c/em> and \u003cem>XXL\u003c/em> as well as several TV news stations helped draw national attention to Williams’ case. Prominent activists like Shaun King retweeted KQED’s story, and Bay Area rap stars like \u003ca href=\"https://twitter.com/E40/status/1091456244961820672\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BtUH5YThFMx/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B.\u003c/a> shared their support on social media. A \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> asking for alternative sentencing has over 43,491 signatures and counting.\u003c/p>\n\u003cp>In a phone call, Williams’ manager Chris Thomas said that the extensive media coverage as well as testimony from Williams’ doctor helped sway the judge’s decision. Thomas sees the 60-day extension as a positive sign, but says that Williams’ legal team will continue to fight for alternative sentencing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing. We’ll update it when we learn more. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 575,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705026633,
"excerpt": "The rap star must now turn himself in on April 11—and he'll continue to lobby for house arrest due to his disabilities.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The rap star must now turn himself in on April 11—and he'll continue to lobby for house arrest due to his disabilities.",
"title": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility",
"datePublished": "2019-02-07T16:06:21-08:00",
"dateModified": "2024-01-11T18:30:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "keak-da-sneak-prison-sentence-delayed-other-options-remain-a-possibility",
"status": "publish",
"sticky": false,
"path": "/arts/13850378/keak-da-sneak-prison-sentence-delayed-other-options-remain-a-possibility",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak Da Sneak has caught a break from prison—for now.\u003c/p>\n\u003cp>Keak da Sneak was scheduled to begin a prison sentence in California’s Amador County earlier today, Feb. 7. But at his hearing, Judge J.S. Hermanson granted the “Super Hyphy” rapper an additional 60 days due to his medical condition. His new sentencing date is April 11.\u003c/p>\n\u003cp>Last week, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that Keak Da Sneak, a longtime fixture in Bay Area hip-hop, awaited a 16-month sentence in California state prison for possession of a firearm is a convicted felon. In an exclusive interview, Keak, whose real name is Charles Kente Williams, said that though California law prohibits him from owning a gun due to his criminal record, he took it upon himself to carry one for protection after surviving a shooting in Oakland in January 2017.\u003c/p>\n\u003cp>The criminal case against Williams began in March 2017 after a police officer searched his car at a gas station in Amador County and found the gun. As the case was ongoing, Williams’ health took a drastic turn for the worse. In August of that year, he was the victim of another shooting in Richmond. The incident left him in critical condition, and he now uses a wheelchair full-time, as well as a catheter and colostomy bag. A nurse comes to his house three times a week to clean his bed sores, which can lead to a dangerous infection if not cared for properly. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Because of the severity of his medical condition, Williams is lobbying for an alternative sentence of house arrest instead of prison time. According to disability rights experts, not all California state prisons are ADA accessible, and even fewer can accommodate an inmate who requires regular medical care for a chronic condition. The California Department of Corrections and Rehabilitation’s medical system has been \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">under federal oversight\u003c/a> since 2006, when a federal court ruled it unconstitutionally inadequate.\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>“Am I gonna get the treatment I’m getting out here? I don’t think so,” Williams said last week. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>After KQED broke the story, popular hip-hop publications like \u003cem>Vibe\u003c/em> and \u003cem>XXL\u003c/em> as well as several TV news stations helped draw national attention to Williams’ case. Prominent activists like Shaun King retweeted KQED’s story, and Bay Area rap stars like \u003ca href=\"https://twitter.com/E40/status/1091456244961820672\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BtUH5YThFMx/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B.\u003c/a> shared their support on social media. A \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> asking for alternative sentencing has over 43,491 signatures and counting.\u003c/p>\n\u003cp>In a phone call, Williams’ manager Chris Thomas said that the extensive media coverage as well as testimony from Williams’ doctor helped sway the judge’s decision. Thomas sees the 60-day extension as a positive sign, but says that Williams’ legal team will continue to fight for alternative sentencing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing. We’ll update it when we learn more. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13850378/keak-da-sneak-prison-sentence-delayed-other-options-remain-a-possibility",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_2173",
"arts_596",
"arts_1526"
],
"featImg": "arts_13849509",
"label": "arts"
},
"arts_13849409": {
"type": "posts",
"id": "arts_13849409",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13849409",
"score": null,
"sort": [
1548702081000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1548702081,
"format": "aside",
"title": "Keak Da Sneak Heads to Prison; 'No Compassion' for Disabilities, He Says",
"headTitle": "Keak Da Sneak Heads to Prison; ‘No Compassion’ for Disabilities, He Says | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak worries that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Update, Feb. 7: \u003c/strong>Keak Da Sneak now has until April 11 to turn himself in, and is still fighting for house arrest. Read about his delayed sentencing \u003ca href=\"https://www.kqed.org/arts/13850378/keak-da-sneak-prison-sentence-delayed-other-options-remain-a-possibility\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Jan. 28:\u003c/strong> At the Jan. 28 hearing, Amador County Superior Court Judge J.S. Hermanson gave Keak Da Sneak additional time to complete a medical procedure. He must now turn himself in on Feb. 7. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n January 2017, Keak Da Sneak survived a close brush with death.\u003c/p>\n\u003cp>The way the rapper tells it, a friend was dropping him off to his car in Oakland after a show in Tracy when several men pulled up and attempted to rob them. After an altercation, the assailants started shooting. Keak was sitting passenger side and narrowly escaped with his life.\u003c/p>\n\u003cp>“After that, I got a gun,” says the rapper, whose real name is Charles Kente Williams. Because of his hardscrabble early life in Oakland’s streets and his local celebrity as a godfather of the Bay Area’s hyphy movement, he says, he’s been the target of multiple violent attacks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Me being from the streets, this environment I grew up in, the streets will suck you in and spit you out,” he tells me over the phone. “There’s no love.”\u003c/p>\n\u003cp>California law prohibits Williams from owning a firearm as a convicted felon. But because he earns less as a musician than he did in the ’90s, when he was signed to Virgin Records with his group 3X Krazy—or in the 2000s, when he helped define the regional sound with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=KrH-VKYY3nw\" target=\"_blank\" rel=\"noopener\">Super Hyphy\u003c/a>” and E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>“—he couldn’t afford armed security. He took it upon himself to carry a weapon for self-defense.\u003c/p>\n\u003cp>Today, Jan. 28, Williams begins a 16-month sentence in state prison for one count of possession of a firearm as a felon. Though he has severe physical disabilities from the January 2017 incident and another shooting that occurred months later in Richmond (he uses a wheelchair full time, as well as a colostomy bag and a catheter, and sees a nurse three times a week), he says that over the two-year legal battle, prosecutors were unsympathetic to his condition and refused to consider house arrest as a part of his plea bargain.\u003c/p>\n\u003cp>“It feels like they had no compassion,” he says. “My health is not good. I know they’re not gonna give me the treatment I need in prison. I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>(The Amador County district attorney’s office was not available for comment as of press time.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>illiams’ felony firearms possession charge goes back to March 2017. As he remembers it, he had the gun hidden in his car while returning from a night of gambling at a casino in Amador County, a rural area east of Sacramento whose population is 89-percent white, according to the latest census estimate. A police officer ran Williams’ license plate at a gas station and saw that he was on probation from a prior firearm charge, and decided to search his car.\u003c/p>\n\u003cp>“It was really racial profiling at an all-time high,” Williams says.\u003c/p>\n\u003cp>According to public records, the Amador County district attorney charged Williams with four felonies and one misdemeanor: possession of a firearm as a felon, possession of ammunition as a felon, receiving stolen property, driving with a suspended or revoked license and possession of a controlled substance. Over the course of the two-year court case, the district attorney dropped all charges except for firearm possession.\u003c/p>\n\u003cp>Not long after the criminal case began, Williams survived another shooting in August 2017, and his health took a major turn for the worse. That incident took place as Williams left a casino after another night of gambling. He was sitting in his parked car near a Richmond gas station when, he recalls, someone attempted to open the driver’s side door. The next thing he saw was a barrage of gunfire.\u003c/p>\n\u003cp>“The first bullet busted the window and hit me in the face, grazed my face,” he says. “It made me put my arms up and guard my head, so I got shot all in my side, abdomen, my elbows, my sides. When the gunfire stopped, I couldn’t feel my legs.”\u003c/p>\n\u003cp>Williams woke up two days later at Highland Hospital in Oakland, with his mother praying at his bedside.\u003c/p>\n\u003cp>https://youtu.be/rSRBp72DU2I\u003c/p>\n\u003cp>The road to recovery has not been easy since the second shooting. He spent weeks in the hospital and then transferred to a rehabilitation center, where he learned to adjust to life in a wheelchair. He now lives at home with his wife in the Sacramento area, where he also has regular physical therapy sessions; a nurse comes three times a week to care for him and clean his bed sores—a common ailment for people with mobility issues—in order to prevent infection.\u003c/p>\n\u003cp>During our interview, Williams’ voice occasionally rises from stoic resolve to anxiety. “Am I gonna get the treatment I’m getting out here? I don’t think so,” he says. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>ndeed, life in prison is incredibly challenging for inmates with disabilities, says lawyer and activist Aditi Juneja, a board member of the \u003ca href=\"http://disabilityrightsfund.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Fund\u003c/a>. Quality of medical care varies widely from facility to facility—even within the same state—and although prisons are covered under the Americans with Disabilities Act (ADA), there’s no guarantee that they’re always compliant.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“When we talk about people with disabilities accessing services in general, people with disabilities face the onus of having to prove they are disabled and need the service,” Juneja says. “You see that with people waiting a really long time with Social Security Disability Insurance. When someone is incarcerated, you can imagine it’s that much worse. When someone has broken the law and is being subjected to this retributive justice we have here in the United States, there is less trust and less willingness to listen to people telling you what they need.”\u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=”uIa5LyZymYnWgYJ6tbuggDBULmPpxbwX”]\u003c/p>\n\u003cp>California prisons are notoriously overcrowded (at 136.6 percent capacity, according to a \u003ca href=\"https://www.aclu.org/sites/default/files/field_document/010916-aclu-solitarydisabilityreport-single.pdf\" target=\"_blank\" rel=\"noopener\">2017 ACLU report\u003c/a>), and not all facilities have accommodations for wheelchair users, especially those who need regular nursing care like Williams. Typically, when an inmate is sentenced to a state prison, they’re sent to an interim facility called a reception center where the state assesses their physical, cognitive and security needs.\u003c/p>\n\u003cp>While able-bodied inmates can leave a reception center in as quickly as a week, those with disabilities can stay there for \u003ca href=\"https://www.cdcr.ca.gov/BOPH/docs/ADA-Resources/ARMSTRONG-I-Remedial-Plan.pdf\" target=\"_blank\" rel=\"noopener\">60 days\u003c/a>—sometimes longer—while the state matches them with a facility that can accommodate their needs. Reception centers are much \u003ca href=\"https://www.cdcr.ca.gov/ombuds/Entering_a_Prison_FAQs.html\" target=\"_blank\" rel=\"noopener\">more restrictive\u003c/a> than prisons; inmates have no phone privileges, and can only interact with visitors through a glass barrier.\u003c/p>\n\u003cp>California prisons also have a track record of violating the civil rights of inmates with disabilities. A federal class-action case, \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">\u003cem>Plata v. Schwarzenegger\u003c/em>\u003c/a>, found the state prison system’s medical care to be inadequate and unconstitutional; as a result, its medical system was placed in a receivership in 2006. And \u003ca href=\"https://www.clearinghouse.net/detail.php?id=572\" target=\"_blank\" rel=\"noopener\">\u003cem>Armstrong v. Newsom\u003c/em>\u003c/a>, a class-action lawsuit on behalf of prisoners with disabilities that’s been ongoing since 1994, continues to monitor California state prisons for ADA compliance.\u003c/p>\n\u003cp>https://www.instagram.com/p/BsFclSZA-_4/\u003c/p>\n\u003cp>For all he’s been through, Williams says he’s closer than ever with his family, especially his kids. He’s grateful for the mobility and independence that he does have. “It got me looking at things real different: walking, being able to get up in the morning, brushing my teeth and making something to eat for myself,” he says.\u003c/p>\n\u003cp>In the weeks leading up to his sentencing date on Jan. 28, he stayed hard at work making music and filming a documentary to be released while he’s away.\u003c/p>\n\u003cp>“It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family,” he says.\u003c/p>\n\u003cp>On the cusp of serving time, and with little chance of an appeal due to taking a plea bargain, it’s clear that the support of family and fans has kept Williams’ spirits up.\u003c/p>\n\u003cp>“I have a lot of people in my corner, on my side,” he says. “They feel like it’s biased, the way they’re treating me. If I was another race, they wouldn’t be doing me like this.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1595,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 31
},
"modified": 1705026695,
"excerpt": "'My health is not good,' he tells KQED. 'I know they’re not gonna give me the treatment I need in prison.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'My health is not good,' he tells KQED. 'I know they’re not gonna give me the treatment I need in prison.'",
"title": "Keak Da Sneak Heads to Prison; 'No Compassion' for Disabilities, He Says | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Keak Da Sneak Heads to Prison; 'No Compassion' for Disabilities, He Says",
"datePublished": "2019-01-28T11:01:21-08:00",
"dateModified": "2024-01-11T18:31:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says",
"status": "publish",
"sticky": false,
"path": "/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak worries that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Update, Feb. 7: \u003c/strong>Keak Da Sneak now has until April 11 to turn himself in, and is still fighting for house arrest. Read about his delayed sentencing \u003ca href=\"https://www.kqed.org/arts/13850378/keak-da-sneak-prison-sentence-delayed-other-options-remain-a-possibility\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Jan. 28:\u003c/strong> At the Jan. 28 hearing, Amador County Superior Court Judge J.S. Hermanson gave Keak Da Sneak additional time to complete a medical procedure. He must now turn himself in on Feb. 7. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n January 2017, Keak Da Sneak survived a close brush with death.\u003c/p>\n\u003cp>The way the rapper tells it, a friend was dropping him off to his car in Oakland after a show in Tracy when several men pulled up and attempted to rob them. After an altercation, the assailants started shooting. Keak was sitting passenger side and narrowly escaped with his life.\u003c/p>\n\u003cp>“After that, I got a gun,” says the rapper, whose real name is Charles Kente Williams. Because of his hardscrabble early life in Oakland’s streets and his local celebrity as a godfather of the Bay Area’s hyphy movement, he says, he’s been the target of multiple violent attacks.\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>“Me being from the streets, this environment I grew up in, the streets will suck you in and spit you out,” he tells me over the phone. “There’s no love.”\u003c/p>\n\u003cp>California law prohibits Williams from owning a firearm as a convicted felon. But because he earns less as a musician than he did in the ’90s, when he was signed to Virgin Records with his group 3X Krazy—or in the 2000s, when he helped define the regional sound with tracks like “\u003ca href=\"https://www.youtube.com/watch?v=KrH-VKYY3nw\" target=\"_blank\" rel=\"noopener\">Super Hyphy\u003c/a>” and E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>“—he couldn’t afford armed security. He took it upon himself to carry a weapon for self-defense.\u003c/p>\n\u003cp>Today, Jan. 28, Williams begins a 16-month sentence in state prison for one count of possession of a firearm as a felon. Though he has severe physical disabilities from the January 2017 incident and another shooting that occurred months later in Richmond (he uses a wheelchair full time, as well as a colostomy bag and a catheter, and sees a nurse three times a week), he says that over the two-year legal battle, prosecutors were unsympathetic to his condition and refused to consider house arrest as a part of his plea bargain.\u003c/p>\n\u003cp>“It feels like they had no compassion,” he says. “My health is not good. I know they’re not gonna give me the treatment I need in prison. I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>(The Amador County district attorney’s office was not available for comment as of press time.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>illiams’ felony firearms possession charge goes back to March 2017. As he remembers it, he had the gun hidden in his car while returning from a night of gambling at a casino in Amador County, a rural area east of Sacramento whose population is 89-percent white, according to the latest census estimate. A police officer ran Williams’ license plate at a gas station and saw that he was on probation from a prior firearm charge, and decided to search his car.\u003c/p>\n\u003cp>“It was really racial profiling at an all-time high,” Williams says.\u003c/p>\n\u003cp>According to public records, the Amador County district attorney charged Williams with four felonies and one misdemeanor: possession of a firearm as a felon, possession of ammunition as a felon, receiving stolen property, driving with a suspended or revoked license and possession of a controlled substance. Over the course of the two-year court case, the district attorney dropped all charges except for firearm possession.\u003c/p>\n\u003cp>Not long after the criminal case began, Williams survived another shooting in August 2017, and his health took a major turn for the worse. That incident took place as Williams left a casino after another night of gambling. He was sitting in his parked car near a Richmond gas station when, he recalls, someone attempted to open the driver’s side door. The next thing he saw was a barrage of gunfire.\u003c/p>\n\u003cp>“The first bullet busted the window and hit me in the face, grazed my face,” he says. “It made me put my arms up and guard my head, so I got shot all in my side, abdomen, my elbows, my sides. When the gunfire stopped, I couldn’t feel my legs.”\u003c/p>\n\u003cp>Williams woke up two days later at Highland Hospital in Oakland, with his mother praying at his bedside.\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/rSRBp72DU2I'\n title='//www.youtube.com/embed/rSRBp72DU2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The road to recovery has not been easy since the second shooting. He spent weeks in the hospital and then transferred to a rehabilitation center, where he learned to adjust to life in a wheelchair. He now lives at home with his wife in the Sacramento area, where he also has regular physical therapy sessions; a nurse comes three times a week to care for him and clean his bed sores—a common ailment for people with mobility issues—in order to prevent infection.\u003c/p>\n\u003cp>During our interview, Williams’ voice occasionally rises from stoic resolve to anxiety. “Am I gonna get the treatment I’m getting out here? I don’t think so,” he says. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>ndeed, life in prison is incredibly challenging for inmates with disabilities, says lawyer and activist Aditi Juneja, a board member of the \u003ca href=\"http://disabilityrightsfund.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Fund\u003c/a>. Quality of medical care varies widely from facility to facility—even within the same state—and although prisons are covered under the Americans with Disabilities Act (ADA), there’s no guarantee that they’re always compliant.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“When we talk about people with disabilities accessing services in general, people with disabilities face the onus of having to prove they are disabled and need the service,” Juneja says. “You see that with people waiting a really long time with Social Security Disability Insurance. When someone is incarcerated, you can imagine it’s that much worse. When someone has broken the law and is being subjected to this retributive justice we have here in the United States, there is less trust and less willingness to listen to people telling you what they need.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>California prisons are notoriously overcrowded (at 136.6 percent capacity, according to a \u003ca href=\"https://www.aclu.org/sites/default/files/field_document/010916-aclu-solitarydisabilityreport-single.pdf\" target=\"_blank\" rel=\"noopener\">2017 ACLU report\u003c/a>), and not all facilities have accommodations for wheelchair users, especially those who need regular nursing care like Williams. Typically, when an inmate is sentenced to a state prison, they’re sent to an interim facility called a reception center where the state assesses their physical, cognitive and security needs.\u003c/p>\n\u003cp>While able-bodied inmates can leave a reception center in as quickly as a week, those with disabilities can stay there for \u003ca href=\"https://www.cdcr.ca.gov/BOPH/docs/ADA-Resources/ARMSTRONG-I-Remedial-Plan.pdf\" target=\"_blank\" rel=\"noopener\">60 days\u003c/a>—sometimes longer—while the state matches them with a facility that can accommodate their needs. Reception centers are much \u003ca href=\"https://www.cdcr.ca.gov/ombuds/Entering_a_Prison_FAQs.html\" target=\"_blank\" rel=\"noopener\">more restrictive\u003c/a> than prisons; inmates have no phone privileges, and can only interact with visitors through a glass barrier.\u003c/p>\n\u003cp>California prisons also have a track record of violating the civil rights of inmates with disabilities. A federal class-action case, \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">\u003cem>Plata v. Schwarzenegger\u003c/em>\u003c/a>, found the state prison system’s medical care to be inadequate and unconstitutional; as a result, its medical system was placed in a receivership in 2006. And \u003ca href=\"https://www.clearinghouse.net/detail.php?id=572\" target=\"_blank\" rel=\"noopener\">\u003cem>Armstrong v. Newsom\u003c/em>\u003c/a>, a class-action lawsuit on behalf of prisoners with disabilities that’s been ongoing since 1994, continues to monitor California state prisons for ADA compliance.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BsFclSZA-_4/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For all he’s been through, Williams says he’s closer than ever with his family, especially his kids. He’s grateful for the mobility and independence that he does have. “It got me looking at things real different: walking, being able to get up in the morning, brushing my teeth and making something to eat for myself,” he says.\u003c/p>\n\u003cp>In the weeks leading up to his sentencing date on Jan. 28, he stayed hard at work making music and filming a documentary to be released while he’s away.\u003c/p>\n\u003cp>“It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family,” he says.\u003c/p>\n\u003cp>On the cusp of serving time, and with little chance of an appeal due to taking a plea bargain, it’s clear that the support of family and fans has kept Williams’ spirits up.\u003c/p>\n\u003cp>“I have a lot of people in my corner, on my side,” he says. “They feel like it’s biased, the way they’re treating me. If I was another race, they wouldn’t be doing me like this.”\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_5397",
"arts_1118",
"arts_3838",
"arts_2173",
"arts_5849",
"arts_1526"
],
"featImg": "arts_13849560",
"label": "arts"
},
"arts_13823134": {
"type": "posts",
"id": "arts_13823134",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13823134",
"score": null,
"sort": [
1517500848000
]
},
"guestAuthors": [],
"slug": "a-glimpse-into-the-future-of-getting-to-alcatraz",
"title": "A Glimpse into the Future of Getting to Alcatraz",
"publishDate": 1517500848,
"format": "audio",
"headTitle": "A Glimpse into the Future of Getting to Alcatraz | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Waiting for the \u003ca href=\"https://www.alcatrazcruises.com/\" target=\"_blank\" rel=\"noopener\">ferry to Alcatraz\u003c/a> isn’t nearly as much fun as being on the iconic island itself. The lines are often long and there’s little to do while you wait in them.\u003c/p>\n\u003cp>Now, the \u003ca href=\"https://www.nps.gov/index.htm\" target=\"_blank\" rel=\"noopener\">National Park Service\u003c/a>, \u003ca href=\"http://sfport.com/\" target=\"_blank\" rel=\"noopener\">Port of San Francisco\u003c/a> and \u003ca href=\"http://www.parksconservancy.org/\" target=\"_blank\" rel=\"noopener\">Parks Conservancy\u003c/a> are working on a plan they hope will make the wait worthwhile.\u003c/p>\n\u003cp>“We’re reorganizing the site to better serve the many people who visit Alcatraz each year,” says Dena Kennett, a landscape architect for the National Park Service and project team member, in a recent phone interview.\u003c/p>\n\u003cp>“The proposal is for greatly improved operations,” says Brian Aviles, the park’s chief of planning. “Right now, the site is kind of chaotic.”\u003c/p>\n\u003cfigure id=\"attachment_13823257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823257 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg\" alt=\"Plans for the proposed entrance to Pier 31 1/2.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plans for the proposed entrance to Pier 31 1/2. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designed by the San Francisco firms \u003ca href=\"http://www.ehdd.com/\" target=\"_blank\" rel=\"noopener\">EHDD Architecture\u003c/a> and \u003ca href=\"https://www.cmgsite.com/\" target=\"_blank\" rel=\"noopener\">CMG Landscape Architecture\u003c/a>, the redeveloped area comprising Pier 31 1/2 as well as parts of Piers 31 and 33, will include:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Indoor parking:\u003c/strong> Aviles says about a third of the site is currently a parking lot. “The area is gobbled by cars,” Aviles says. The plans will move the vehicles indoors, into the shed structure at Pier 31 1/2.\u003c/li>\n\u003cli>\u003cstrong>Welcome center:\u003c/strong> The large, currently disused historic building at Pier 33 will be transformed into a visitors’ welcome center. “Right now, the building is miserable,” Aviles says. “We’re going to restore it, and open it up to provide orientation, exhibits, a bookstore, and offices for the people running the ferry service, including ticket sales.”\u003c/li>\n\u003cli>\u003cstrong>Cafe: \u003c/strong>A new eatery will be installed in the presently unoccupied shed at Pier 31 1/2. “The cafe will be where people disembark,” says Kennett. “There will also be outdoor space with a canopy for lingering and meeting groups.”\u003c/li>\n\u003cli>\u003cstrong>Public plazas: \u003c/strong>Kennett says the civic spaces around the ferry landing and associated buildings will be designed as an extension of the Embarcadero, with a paved surface and fixed seating. “It needs to be comfortable for up to a thousand people,” Kennett says. “It needs to be a flexible and welcoming space.”\u003c/li>\n\u003cli>\u003cstrong>Interpretive elements:\u003c/strong> Visitors will still have to line up outside to catch the Alcatraz ferry. But the developers plan to install canopies and what Kennett describes as “interpretive elements embedded into site fixtures” to educate visitors about the history and cultural significance of The Rock before they board. “We want the site to show the whole story of Alcatraz, including the Native American occupation, protecting the natural resources of the island, and the history of protests that took place there,” Kennett says.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13823258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823258 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg\" alt=\"Site Plan\" width=\"800\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-768x674.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1020x896.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1920x1686.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1180x1036.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-960x843.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-240x211.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-375x329.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-520x457.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Site Plan, \u003ccite>(Photo: Courtesy of CMG Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aviles, together with four project partners — Robert Tranter of EHDD Architecture, Cathie Barner of the Parks Conservancy, the Port of San Francisco’s Dan Hodapp and CMG Landscape Architecture’s Scott Cataffa — shared their vision for the site at a Jan. 30 public meeting at the \u003ca href=\"http://www.spur.org/events/2018-01-30/getting-rock\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Planning and Urban Research Association\u003c/a> (SPUR).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our big thought was to organize the site a little bit better,” Cataffa says. “We want to clear the center space out, open up the views of the water and organize the program amenities to make the experience much clearer.”\u003c/p>\n\u003cp>Aviles says the total budget for the project will come in at more than $20 million, and that the money to pay for the redevelopment of the site will come from the ferry operator — not the taxpayer.\u003c/p>\n\u003cp>The National Park Service announced Thursday that it is seeking proposals from ferry service providers for the concession, including the current contractor, \u003ca href=\"https://www.hornblower.com/\" target=\"_blank\" rel=\"noopener\">Hornblower Cruises & Events. \u003c/a>Aviles adds he does not expect tickets to Alcatraz to go up in price as a result of the improvements.\u003c/p>\n\u003cp>Audience members from the Jan 30. event offer varying responses to the plan.\u003c/p>\n\u003cfigure id=\"attachment_13823264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823264 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg\" alt=\"Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you look at what’s there now it’s kind of a hodgepodge of stuff, so it’ll be nice to open up waterfront so that the public can get down there and actually see the water,” says structural engineer Alan Kren.\u003c/p>\n\u003cp>But Kren also expresses reservations about the budget. “These types of projects always tend to cost more than people really want to think that they’re going to cost,” Kren says. “They’re difficult renovations over structures that are over the water that people tend to have ignored for a long time because they only see what’s up on top. Doing what’s on top is pretty straightforward, but what’s underneath can be a little bit difficult and that’s where the money gets spent. But nobody wants to spend it there.”\u003c/p>\n\u003cp>Meanwhile, Academy of Art architecture and design student Leslie Onumbu expressed excitement about the vision for the Alcatraz landing and welcome center, but says he felt the panelists were too vague about sustainability issues.\u003c/p>\n\u003cp>“They talked about LEED [Leadership in Energy and Environmental Design — an internationally recognized green building certification system] and they talked about materials,” Onumbu says. “But I can’t really pinpoint and say OK, this is extremely sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_13823259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823259 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg\" alt=\"View of the proposed site from above.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View of the proposed site from above. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early work on the plan did include an extensive environmental impact study. Aviles says improved emissions controls on ferries is an important part of the redevelopment project and that the new and refurbished structures will include sustainable materials.\u003c/p>\n\u003cp>Kennett says historical preservation is also a key consideration. This includes preserving the facades of the old buildings. “We don’t want to compete with the historical elements but complement them,” Kennett says.\u003c/p>\n\u003cp>Aviles says the proposal will go before San Francisco’s board of supervisors in March or April. If approved, the transformation will take around five years, with no expected service interruptions.\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/arts/wp-content/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\n",
"blocks": [],
"excerpt": "The National Park Service, Port of San Francisco and Parks Conservancy are working on a plan they hope will make the wait for the ferry to The Rock worthwhile.",
"status": "publish",
"parent": 0,
"modified": 1726781894,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1064
},
"headData": {
"title": "A Glimpse into the Future of Getting to Alcatraz | KQED",
"description": "The National Park Service, Port of San Francisco and Parks Conservancy are working on a plan they hope will make the wait for the ferry to The Rock worthwhile.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Glimpse into the Future of Getting to Alcatraz",
"datePublished": "2018-02-01T08:00:48-08:00",
"dateModified": "2024-09-19T14:38:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/02/VeltmanAlcatrazFerryPlan.mp3",
"sticky": false,
"path": "/arts/13823134/a-glimpse-into-the-future-of-getting-to-alcatraz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Waiting for the \u003ca href=\"https://www.alcatrazcruises.com/\" target=\"_blank\" rel=\"noopener\">ferry to Alcatraz\u003c/a> isn’t nearly as much fun as being on the iconic island itself. The lines are often long and there’s little to do while you wait in them.\u003c/p>\n\u003cp>Now, the \u003ca href=\"https://www.nps.gov/index.htm\" target=\"_blank\" rel=\"noopener\">National Park Service\u003c/a>, \u003ca href=\"http://sfport.com/\" target=\"_blank\" rel=\"noopener\">Port of San Francisco\u003c/a> and \u003ca href=\"http://www.parksconservancy.org/\" target=\"_blank\" rel=\"noopener\">Parks Conservancy\u003c/a> are working on a plan they hope will make the wait worthwhile.\u003c/p>\n\u003cp>“We’re reorganizing the site to better serve the many people who visit Alcatraz each year,” says Dena Kennett, a landscape architect for the National Park Service and project team member, in a recent phone interview.\u003c/p>\n\u003cp>“The proposal is for greatly improved operations,” says Brian Aviles, the park’s chief of planning. “Right now, the site is kind of chaotic.”\u003c/p>\n\u003cfigure id=\"attachment_13823257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823257 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg\" alt=\"Plans for the proposed entrance to Pier 31 1/2.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Pier-31.5-entry.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plans for the proposed entrance to Pier 31 1/2. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designed by the San Francisco firms \u003ca href=\"http://www.ehdd.com/\" target=\"_blank\" rel=\"noopener\">EHDD Architecture\u003c/a> and \u003ca href=\"https://www.cmgsite.com/\" target=\"_blank\" rel=\"noopener\">CMG Landscape Architecture\u003c/a>, the redeveloped area comprising Pier 31 1/2 as well as parts of Piers 31 and 33, will include:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Indoor parking:\u003c/strong> Aviles says about a third of the site is currently a parking lot. “The area is gobbled by cars,” Aviles says. The plans will move the vehicles indoors, into the shed structure at Pier 31 1/2.\u003c/li>\n\u003cli>\u003cstrong>Welcome center:\u003c/strong> The large, currently disused historic building at Pier 33 will be transformed into a visitors’ welcome center. “Right now, the building is miserable,” Aviles says. “We’re going to restore it, and open it up to provide orientation, exhibits, a bookstore, and offices for the people running the ferry service, including ticket sales.”\u003c/li>\n\u003cli>\u003cstrong>Cafe: \u003c/strong>A new eatery will be installed in the presently unoccupied shed at Pier 31 1/2. “The cafe will be where people disembark,” says Kennett. “There will also be outdoor space with a canopy for lingering and meeting groups.”\u003c/li>\n\u003cli>\u003cstrong>Public plazas: \u003c/strong>Kennett says the civic spaces around the ferry landing and associated buildings will be designed as an extension of the Embarcadero, with a paved surface and fixed seating. “It needs to be comfortable for up to a thousand people,” Kennett says. “It needs to be a flexible and welcoming space.”\u003c/li>\n\u003cli>\u003cstrong>Interpretive elements:\u003c/strong> Visitors will still have to line up outside to catch the Alcatraz ferry. But the developers plan to install canopies and what Kennett describes as “interpretive elements embedded into site fixtures” to educate visitors about the history and cultural significance of The Rock before they board. “We want the site to show the whole story of Alcatraz, including the Native American occupation, protecting the natural resources of the island, and the history of protests that took place there,” Kennett says.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13823258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823258 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg\" alt=\"Site Plan\" width=\"800\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-800x702.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-160x140.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-768x674.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1020x896.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1920x1686.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-1180x1036.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-960x843.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-240x211.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-375x329.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan-520x457.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-Plan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Site Plan, \u003ccite>(Photo: Courtesy of CMG Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aviles, together with four project partners — Robert Tranter of EHDD Architecture, Cathie Barner of the Parks Conservancy, the Port of San Francisco’s Dan Hodapp and CMG Landscape Architecture’s Scott Cataffa — shared their vision for the site at a Jan. 30 public meeting at the \u003ca href=\"http://www.spur.org/events/2018-01-30/getting-rock\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Planning and Urban Research Association\u003c/a> (SPUR).\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>“Our big thought was to organize the site a little bit better,” Cataffa says. “We want to clear the center space out, open up the views of the water and organize the program amenities to make the experience much clearer.”\u003c/p>\n\u003cp>Aviles says the total budget for the project will come in at more than $20 million, and that the money to pay for the redevelopment of the site will come from the ferry operator — not the taxpayer.\u003c/p>\n\u003cp>The National Park Service announced Thursday that it is seeking proposals from ferry service providers for the concession, including the current contractor, \u003ca href=\"https://www.hornblower.com/\" target=\"_blank\" rel=\"noopener\">Hornblower Cruises & Events. \u003c/a>Aviles adds he does not expect tickets to Alcatraz to go up in price as a result of the improvements.\u003c/p>\n\u003cp>Audience members from the Jan 30. event offer varying responses to the plan.\u003c/p>\n\u003cfigure id=\"attachment_13823264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823264 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg\" alt=\"Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/SPUR-meeting-e1517425168371.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Alcatraz ferry landing and plaza project team discuss the plans at SPUR in downtown San Francisco on Jan. 30, 2018. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you look at what’s there now it’s kind of a hodgepodge of stuff, so it’ll be nice to open up waterfront so that the public can get down there and actually see the water,” says structural engineer Alan Kren.\u003c/p>\n\u003cp>But Kren also expresses reservations about the budget. “These types of projects always tend to cost more than people really want to think that they’re going to cost,” Kren says. “They’re difficult renovations over structures that are over the water that people tend to have ignored for a long time because they only see what’s up on top. Doing what’s on top is pretty straightforward, but what’s underneath can be a little bit difficult and that’s where the money gets spent. But nobody wants to spend it there.”\u003c/p>\n\u003cp>Meanwhile, Academy of Art architecture and design student Leslie Onumbu expressed excitement about the vision for the Alcatraz landing and welcome center, but says he felt the panelists were too vague about sustainability issues.\u003c/p>\n\u003cp>“They talked about LEED [Leadership in Energy and Environmental Design — an internationally recognized green building certification system] and they talked about materials,” Onumbu says. “But I can’t really pinpoint and say OK, this is extremely sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_13823259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13823259 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg\" alt=\"View of the proposed site from above.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/180130-Site-from-above.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">View of the proposed site from above. \u003ccite>(Photo: Courtesy of EHDD Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early work on the plan did include an extensive environmental impact study. Aviles says improved emissions controls on ferries is an important part of the redevelopment project and that the new and refurbished structures will include sustainable materials.\u003c/p>\n\u003cp>Kennett says historical preservation is also a key consideration. This includes preserving the facades of the old buildings. “We don’t want to compete with the historical elements but complement them,” Kennett says.\u003c/p>\n\u003cp>Aviles says the proposal will go before San Francisco’s board of supervisors in March or April. If approved, the transformation will take around five years, with no expected service interruptions.\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/arts/wp-content/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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13823134/a-glimpse-into-the-future-of-getting-to-alcatraz",
"authors": [
"8608"
],
"categories": [
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596",
"arts_1526"
],
"featImg": "arts_13823256",
"label": "arts"
},
"arts_13818873": {
"type": "posts",
"id": "arts_13818873",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13818873",
"score": null,
"sort": [
1515718944000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1515718944,
"format": "audio",
"title": "The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate",
"headTitle": "The Story of Johnny Cash’s Unlikely Collaboration with a Folsom Inmate | KQED",
"content": "\u003cp>The night before Johnny Cash’s legendary Jan. 13, 1968 appearance at Folsom Prison, a prison minister handed him a recording of inmate Glen Sherley’s song inspired by the penitentiary’s imposing granite chapel.\u003c/p>\n\u003cp>“John says, ‘Well, anybody got a tape recorder?’ So I raised my hand,” recalls Gene Beley, then a young reporter for the Ventura Star Free Press, who was there at the time. “And we put this little demo tape on there and it was ‘Greystone Chapel’ by Glen Sherley. And he says, ‘I want to record it.'”\u003c/p>\n\u003cfigure id=\"attachment_13818895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818895\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley's song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash copied down the lyrics in his hotel room and started working on the song. The reporter later caught the rehearsal on tape. (If you listen to the audio at the top of this story, you can hear Cash and his band practice the new song. This tape has never been heard before by the public.)\u003c/p>\n\u003cp>The next morning — 50 years ago this week — Cash and his entourage headed out to record what would become one of the most influential albums of the twentieth century, \u003cem>Johnny Cash at Folsom Prison\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13818897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg\" alt=\"Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash's seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before and the concert.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash’s seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before the concert. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash received a rapturous welcome at the penitentiary, located northeast of Sacramento. “All the guys screaming and hollering and hootin’ and whistlin,” Beley says. “I had never been to another show that had those kind of reactions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Glen Sherley had a front-row seat in the prison’s drab cafeteria for\u003cbr>\nthe show. The convict was doing time for armed robbery. He had no idea that Cash had gotten hold of his song when Cash announced, “This song was written by our friend Glen Sherley. I hope we do your song justice, Glen.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Greystone Chapel\" -- Glen Sherley' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/HEsSOFwPbws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Starting in 1957, Cash performed many prison concerts over the years, including four dates at Folsom.\u003c/p>\n\u003cp>But the 1968 gig helped to relaunch the singer’s career, which was floundering at the time in large part due to his dependence on prescription pills.\u003c/p>\n\u003cp>It also boosted Cash’s ongoing campaign for prison reform. That’s an issue his daughter Tara Cash Schwoebel says her father had long held dear. “It really spoke to his rebellious side,” Schwoebel says. “He had a passion for just standing up for these people who were locked up and treated so poorly.”\u003c/p>\n\u003cfigure id=\"attachment_13818896\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg\" alt=\"Johnny Cash with his daughter Tara.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash with his daughter Tara. \u003ccite>(Photo: Courtesy Tara Cash Schwoebel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cash and Sherley hit it off. A life‐long Christian who believed strongly in redemption, Cash did a lot to get his new friend on the right path. In 1971, he lobbied successfully to get the handsome inmate paroled, and gave him a job as a performer with his band. He even helped Sherley cut his own album.\u003c/p>\n\u003cp>Sherley did his best to adjust to his new life on the outside. He joined Cash’s crusade for prison reform, even testifying alongside his mentor at a U.S. Senate subcommittee hearing on the issue in 1972.\u003c/p>\n\u003cp>He also got married, and adopted a son. Keith Sherley remembers his dad fondly. “My dad had a great laugh and a great smile,” he says. “We did a lot of things together and he was fun.”\u003c/p>\n\u003cfigure id=\"attachment_13818898\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png\" alt='Johnny Cash and the Tennessee Three. WS \"Fluke\" Holland on drums' width=\"582\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--375x209.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--520x289.png 520w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash and the Tennessee Three. WS “Fluke” Holland on drums. \u003ccite>(Photo: Courtesy WS \"Fluke\" Holland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Cash’s drummer, WS “Fluke” Holland, says Sherley was a real gentleman on the road. “I don’t know of anybody I’ve ever been around who was nicer than Glen Sherley,” Holland says.\u003c/p>\n\u003cp>But Sherley found it hard to cope with being thrust under the spotlight after years in prison. Keith Sherley says his dad was battling drug addiction and wasn’t easy to live with. “There was a lot of domestic trouble between he and my mom,” Keith Sherley says. “There was a lot of problems with being consistent; with being reliable.”\u003c/p>\n\u003cp>The issues bled into his professional life.\u003cstrong> \u003c/strong>Schwoebel says the parolee’s behavior became increasingly threatening and erratic. “And so my father realized that it was time to kind of break ties with him,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13818903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg\" alt=\"Folsom Prison's imposing gatehouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, Cash kicked Sherley out of the band. His marriage ended and his life spiraled out of control. He wound up living with his brother in California and worked on a feedlot near Salinas. In 1978, he killed himself. He was 42.\u003c/p>\n\u003cp>Schwoebel says her father was devastated. “It was a wakeup call that he realized he couldn’t save everybody,” she says.\u003c/p>\n\u003cp>On the day Cash heard the tragic news, the singer drew a picture in his journal of a bird flying away from a prison cell window. Keith Sherley says he was shown the journal page by a Cash scholar.\u003c/p>\n\u003cp>“And beneath it, he wrote the caption, ‘The Lord has set my soul free,'” Keith Sherley says, recalling that these are words from “Greystone Chapel,” the song that first brought the two men together. “I think John understood that released his soul, and that he was finally free from whatever demons that he had been dealing with.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>With thanks to Gene Beley and Sony for providing access to and permission to use a few seconds of footage from Cash’s as-yet-unreleased Jan 12, 1968 rehearsal tape. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1013,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705028782,
"excerpt": "This bittersweet story of redemption-gone-wrong features unreleased audio from the night before the Man in Black performed his legendary session at Folsom on Jan. 13, 1968.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This bittersweet story of redemption-gone-wrong features unreleased audio from the night before the Man in Black performed his legendary session at Folsom on Jan. 13, 1968.",
"title": "The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Story of Johnny Cash's Unlikely Collaboration with a Folsom Inmate",
"datePublished": "2018-01-11T17:02:24-08:00",
"dateModified": "2024-01-11T19:06:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-johnny-cashs-friendship-with-a-folsom-inmate-tested-his-beliefs",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcr/2018/01/Folsom50thVeltman180112.mp3",
"featuredImageType": "standard",
"sticky": false,
"audioTrackLength": 275,
"path": "/arts/13818873/how-johnny-cashs-friendship-with-a-folsom-inmate-tested-his-beliefs",
"audioDuration": 260000,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The night before Johnny Cash’s legendary Jan. 13, 1968 appearance at Folsom Prison, a prison minister handed him a recording of inmate Glen Sherley’s song inspired by the penitentiary’s imposing granite chapel.\u003c/p>\n\u003cp>“John says, ‘Well, anybody got a tape recorder?’ So I raised my hand,” recalls Gene Beley, then a young reporter for the Ventura Star Free Press, who was there at the time. “And we put this little demo tape on there and it was ‘Greystone Chapel’ by Glen Sherley. And he says, ‘I want to record it.'”\u003c/p>\n\u003cfigure id=\"attachment_13818895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818895\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg\" alt=\"Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley's song of the same title.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Greystone-Chapel-courtesy-CDCR.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greystone Chapel at Folsom Prison. The granite building was the inspiration for Glen Sherley’s song of the same title. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash copied down the lyrics in his hotel room and started working on the song. The reporter later caught the rehearsal on tape. (If you listen to the audio at the top of this story, you can hear Cash and his band practice the new song. This tape has never been heard before by the public.)\u003c/p>\n\u003cp>The next morning — 50 years ago this week — Cash and his entourage headed out to record what would become one of the most influential albums of the twentieth century, \u003cem>Johnny Cash at Folsom Prison\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13818897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg\" alt=\"Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash's seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before and the concert.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Gene-Beley-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Beley, formerly a reporter with the Ventura Star Free Press, poses with his copy of Cash’s seminal 1968 album. Beley traveled alongside Cash for the gig and recorded the rehearsal the night before the concert. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beley says Cash received a rapturous welcome at the penitentiary, located northeast of Sacramento. “All the guys screaming and hollering and hootin’ and whistlin,” Beley says. “I had never been to another show that had those kind of reactions.”\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>Glen Sherley had a front-row seat in the prison’s drab cafeteria for\u003cbr>\nthe show. The convict was doing time for armed robbery. He had no idea that Cash had gotten hold of his song when Cash announced, “This song was written by our friend Glen Sherley. I hope we do your song justice, Glen.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Greystone Chapel\" -- Glen Sherley' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/HEsSOFwPbws?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Starting in 1957, Cash performed many prison concerts over the years, including four dates at Folsom.\u003c/p>\n\u003cp>But the 1968 gig helped to relaunch the singer’s career, which was floundering at the time in large part due to his dependence on prescription pills.\u003c/p>\n\u003cp>It also boosted Cash’s ongoing campaign for prison reform. That’s an issue his daughter Tara Cash Schwoebel says her father had long held dear. “It really spoke to his rebellious side,” Schwoebel says. “He had a passion for just standing up for these people who were locked up and treated so poorly.”\u003c/p>\n\u003cfigure id=\"attachment_13818896\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg\" alt=\"Johnny Cash with his daughter Tara.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/johnny-cash-and-tara-cash-schwoebel-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash with his daughter Tara. \u003ccite>(Photo: Courtesy Tara Cash Schwoebel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cash and Sherley hit it off. A life‐long Christian who believed strongly in redemption, Cash did a lot to get his new friend on the right path. In 1971, he lobbied successfully to get the handsome inmate paroled, and gave him a job as a performer with his band. He even helped Sherley cut his own album.\u003c/p>\n\u003cp>Sherley did his best to adjust to his new life on the outside. He joined Cash’s crusade for prison reform, even testifying alongside his mentor at a U.S. Senate subcommittee hearing on the issue in 1972.\u003c/p>\n\u003cp>He also got married, and adopted a son. Keith Sherley remembers his dad fondly. “My dad had a great laugh and a great smile,” he says. “We did a lot of things together and he was fun.”\u003c/p>\n\u003cfigure id=\"attachment_13818898\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png\" alt='Johnny Cash and the Tennessee Three. WS \"Fluke\" Holland on drums' width=\"582\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963-.png 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--375x209.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Johnny_Cash_and_The_Tennessee_Three_1963--520x289.png 520w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Cash and the Tennessee Three. WS “Fluke” Holland on drums. \u003ccite>(Photo: Courtesy WS \"Fluke\" Holland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Cash’s drummer, WS “Fluke” Holland, says Sherley was a real gentleman on the road. “I don’t know of anybody I’ve ever been around who was nicer than Glen Sherley,” Holland says.\u003c/p>\n\u003cp>But Sherley found it hard to cope with being thrust under the spotlight after years in prison. Keith Sherley says his dad was battling drug addiction and wasn’t easy to live with. “There was a lot of domestic trouble between he and my mom,” Keith Sherley says. “There was a lot of problems with being consistent; with being reliable.”\u003c/p>\n\u003cp>The issues bled into his professional life.\u003cstrong> \u003c/strong>Schwoebel says the parolee’s behavior became increasingly threatening and erratic. “And so my father realized that it was time to kind of break ties with him,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13818903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg\" alt=\"Folsom Prison's imposing gatehouse.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_0559.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Prison’s imposing gatehouse. \u003ccite>(Photo: Kristina Khokhobashvili/California Department of Corrections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, Cash kicked Sherley out of the band. His marriage ended and his life spiraled out of control. He wound up living with his brother in California and worked on a feedlot near Salinas. In 1978, he killed himself. He was 42.\u003c/p>\n\u003cp>Schwoebel says her father was devastated. “It was a wakeup call that he realized he couldn’t save everybody,” she says.\u003c/p>\n\u003cp>On the day Cash heard the tragic news, the singer drew a picture in his journal of a bird flying away from a prison cell window. Keith Sherley says he was shown the journal page by a Cash scholar.\u003c/p>\n\u003cp>“And beneath it, he wrote the caption, ‘The Lord has set my soul free,'” Keith Sherley says, recalling that these are words from “Greystone Chapel,” the song that first brought the two men together. “I think John understood that released his soul, and that he was finally free from whatever demons that he had been dealing with.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\n\u003cp>\u003cem>With thanks to Gene Beley and Sony for providing access to and permission to use a few seconds of footage from Cash’s as-yet-unreleased Jan 12, 1968 rehearsal tape. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13818873/how-johnny-cashs-friendship-with-a-folsom-inmate-tested-his-beliefs",
"authors": [
"8608"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1037",
"arts_7534",
"arts_7535",
"arts_1119",
"arts_1118",
"arts_596",
"arts_1526"
],
"featImg": "arts_13818875",
"label": "arts"
},
"arts_13808936": {
"type": "posts",
"id": "arts_13808936",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13808936",
"score": null,
"sort": [
1505859962000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1505859962,
"format": "image",
"title": "A Father and Son, Together on Alcatraz — For the First Time",
"headTitle": "A Father and Son, Together on Alcatraz — For the First Time | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his past August, as I sat in Alcatraz State Prison, I listened to Larry Stiner’s voice reverberating off the art-covered walls as he described in verse his experience growing up with an incarcerated father.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The afternoon marked a rare occurrence. The walls of 165-year-old facility are usually barren, aside from their diverse shades of beige paint. And Larry Stiner doesn’t perform poetry often. But on this occasion the walls were covered in art — framed photos, paintings and drawings – while Larry Stiner spoke his truth to a room of around 70 guests.\u003c/p>\n\u003cp>Larry was joined on stage by his father Watani Stiner, as well as Troy Williams and Troy’s daughter, Tory. Watani and Troy, both formerly incarcerated at San Quentin, were a part of an arts-in-corrections program there called \u003ca href=\"https://brothersinpen.wordpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brothers In Pen\u003c/a>. That organization, sponsored by the William James Association and supported by the National Park Service, put together this family- and art-oriented gathering at Alcatraz.\u003c/p>\n\u003cp>Between each of Larry’s poems, Watani shared a portion of his own life’s story. The duo were still mastering their timing, as it was the first time they performed together. But the message was clear: incarceration impacts more than just the individual, it influences the entire family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was young, and he was in prison for the first time, that’s what led me to write,” said the younger Stiner, who recalled receiving letters from his father, noting how they pushed him to express himself through prose. “I wanted to emulate him.”\u003c/p>\n\u003cfigure id=\"attachment_13809006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-800x535.jpg\" alt=\"Troy Williams (L) and Watani Stiner (R) with family at Alcatraz State Prison.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Williams (L) and Watani Stiner (R) with family at Alcatraz State Prison. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile Larry’s poetry recitation evinced his commitment to the craft, Watani’s testimony proved that he’s been fine-tuning the telling of his life’s story. He told me that he’s currently in the process of writing an autobiographical book—but I think it should be a movie.\u003c/p>\n\u003cp>Watani and his twin brother were incarcerated for charges related to the killings of two Black Panther leaders, after which they both escaped San Quentin and fled to South America. Watani turned himself in 20 years later; his brother didn’t. Watani served another 20 years, and was released from San Quentin just about three years ago.\u003c/p>\n\u003cp>There are plenty more details, including the birth of Watani’s other children, a run-in with Jim Jones, and surviving this thing called COINTELPRO. His life is the material screenplays are made of, preferably one in which a young Watani is portrayed by Chadwick Boseman, and Morgan Freeman as the elder. And Watani should write it, because he \u003cem>knows\u003c/em> how to write.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The biggest thing,’ Watani says, ‘is not throwing things away.’\u003c/aside>\n\u003cp>Aside from working with Brothers In Pen and sending letters to his family, Watani honed his craft at the \u003cem>San Quentin News\u003c/em>, where he wrote a consistent column called “From An OGs Perspective.” (Around that time I was working on a blog called OG Told Me, so you see the natural overlap.)\u003c/p>\n\u003cp>I’ve followed Watani’s story since meeting him while he was incarcerated in 2013. And since his release, I’ve stayed in contact with him — often discussing community, politics and family. And, of course, writing.\u003c/p>\n\u003cp>“I continued my writing when I got out, it helped me to get my ideas together,” Watani tells me during a recent phone conversation. “Inside is where the transformation took place,” he says, adding that it was “a way of connecting with my children. The questions they’ve asked me, I’ve already explored it in prison.”\u003c/p>\n\u003cp>When I ask him about the lessons he learned from this writing program, Watani, who favors writing on paper over computers, tells me, “the biggest thing is not throwing things away. But coming back to them and getting a different understanding or conclusion.”\u003c/p>\n\u003cfigure id=\"attachment_13809003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-800x535.jpg\" alt=\"The audience at Alcatraz listens to Watani Stiner's story.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience at Alcatraz listens to Watani Stiner’s story. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>rothers In Pen writing instructor Zoe Mullery describes the experience as “more like a writing group than a class. People share their work, have dialogue and pushback.” Zoe has been doing this work since 1999; Watani is her student with the second-longest tenure. She says she’s seen firsthand the healing powers of writing: “You end up getting close to people,” she says, “you get to know their stories and see their growth.”\u003c/p>\n\u003cp>The qualitative impact of arts on the healing process is evident, but it’s proven to be difficult to quantify.\u003c/p>\n\u003cp>The \u003ca href=\"http://williamjamesassociation.org/research/\" target=\"_blank\" rel=\"noopener noreferrer\">latest available study\u003c/a> on the impact of the arts in California Prisons was conducted five years ago, in 2012 by Dr. Lawrence Brewster of the University of San Francisco. That study, published in 2014, served as a follow-up to his original study on the subject conducted in the 1980s.\u003c/p>\n\u003cp>Laurie Brooks, Executive Director of the Williams James Association, is currently researching the same impact. “We’ve been focusing on six theories on behavioral change,” Brooks tells me during a phone call, listing off Cognitive Behavioral, Social Learning, Resilience, Social Capital, Performance, and Desistance.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’ve visited these institutions, seen how their bland concrete walls and steel cages are designed to keep humans from dreaming.\u003c/aside>\n\u003cp>Brooks is working with the Center for Evidence Based Corrections out of UC Irvine as well as Dr. Brewster, and has held focus groups to interview participants in the class. She hopes to have the study wrapped by the end of the year, when she plans to present it to power holders in the California Prison System “so they can look at the inmates a different way,” she says. “So they have an opportunity for change.”\u003c/p>\n\u003cp>I’ve never been incarcerated, but have had far too many friends and family members thrown into this country’s bastardized prison system, including my own father. I’ve visited these institutions, seen how their bland concrete walls and steel cages have been designed to keep humans from dreaming. I’ve communicated with loved ones, often through letters or phone calls on illegally acquired burner cell phones, and they often speak of their dreams. What they want to do, how they want to drop an album, write poetry, produce films, and in the end, create a better reality for themselves and their families.\u003c/p>\n\u003cp>As I listened to Larry and Watni Stiner last month, as well as Troy and his daughter Latanya — all of them speaking about how incarceration hurts those inside as well as outside of those bland walls — I clearly heard human beings aspiring to create a better future, despite horrendous things done in the past. What better way to do that than through art?\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>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland, and a weekly columnist for KQED Arts. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1204,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705029508,
"excerpt": "Watani and Larry Stiner didn't always write letters to each other. That changed with a prison writing program — and it opened up whole new worlds.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Watani and Larry Stiner didn't always write letters to each other. That changed with a prison writing program — and it opened up whole new worlds.",
"title": "A Father and Son, Together on Alcatraz — For the First Time | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Father and Son, Together on Alcatraz — For the First Time",
"datePublished": "2017-09-19T15:26:02-07:00",
"dateModified": "2024-01-11T19:18:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-father-and-son-together-on-alcatraz-for-the-first-time",
"status": "publish",
"excludeFromSiteSearch": "Include",
"sticky": false,
"articleAge": "0",
"path": "/arts/13808936/a-father-and-son-together-on-alcatraz-for-the-first-time",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his past August, as I sat in Alcatraz State Prison, I listened to Larry Stiner’s voice reverberating off the art-covered walls as he described in verse his experience growing up with an incarcerated father.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The afternoon marked a rare occurrence. The walls of 165-year-old facility are usually barren, aside from their diverse shades of beige paint. And Larry Stiner doesn’t perform poetry often. But on this occasion the walls were covered in art — framed photos, paintings and drawings – while Larry Stiner spoke his truth to a room of around 70 guests.\u003c/p>\n\u003cp>Larry was joined on stage by his father Watani Stiner, as well as Troy Williams and Troy’s daughter, Tory. Watani and Troy, both formerly incarcerated at San Quentin, were a part of an arts-in-corrections program there called \u003ca href=\"https://brothersinpen.wordpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brothers In Pen\u003c/a>. That organization, sponsored by the William James Association and supported by the National Park Service, put together this family- and art-oriented gathering at Alcatraz.\u003c/p>\n\u003cp>Between each of Larry’s poems, Watani shared a portion of his own life’s story. The duo were still mastering their timing, as it was the first time they performed together. But the message was clear: incarceration impacts more than just the individual, it influences the entire family.\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>“When I was young, and he was in prison for the first time, that’s what led me to write,” said the younger Stiner, who recalled receiving letters from his father, noting how they pushed him to express himself through prose. “I wanted to emulate him.”\u003c/p>\n\u003cfigure id=\"attachment_13809006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-800x535.jpg\" alt=\"Troy Williams (L) and Watani Stiner (R) with family at Alcatraz State Prison.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.TwoDads.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Williams (L) and Watani Stiner (R) with family at Alcatraz State Prison. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile Larry’s poetry recitation evinced his commitment to the craft, Watani’s testimony proved that he’s been fine-tuning the telling of his life’s story. He told me that he’s currently in the process of writing an autobiographical book—but I think it should be a movie.\u003c/p>\n\u003cp>Watani and his twin brother were incarcerated for charges related to the killings of two Black Panther leaders, after which they both escaped San Quentin and fled to South America. Watani turned himself in 20 years later; his brother didn’t. Watani served another 20 years, and was released from San Quentin just about three years ago.\u003c/p>\n\u003cp>There are plenty more details, including the birth of Watani’s other children, a run-in with Jim Jones, and surviving this thing called COINTELPRO. His life is the material screenplays are made of, preferably one in which a young Watani is portrayed by Chadwick Boseman, and Morgan Freeman as the elder. And Watani should write it, because he \u003cem>knows\u003c/em> how to write.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The biggest thing,’ Watani says, ‘is not throwing things away.’\u003c/aside>\n\u003cp>Aside from working with Brothers In Pen and sending letters to his family, Watani honed his craft at the \u003cem>San Quentin News\u003c/em>, where he wrote a consistent column called “From An OGs Perspective.” (Around that time I was working on a blog called OG Told Me, so you see the natural overlap.)\u003c/p>\n\u003cp>I’ve followed Watani’s story since meeting him while he was incarcerated in 2013. And since his release, I’ve stayed in contact with him — often discussing community, politics and family. And, of course, writing.\u003c/p>\n\u003cp>“I continued my writing when I got out, it helped me to get my ideas together,” Watani tells me during a recent phone conversation. “Inside is where the transformation took place,” he says, adding that it was “a way of connecting with my children. The questions they’ve asked me, I’ve already explored it in prison.”\u003c/p>\n\u003cp>When I ask him about the lessons he learned from this writing program, Watani, who favors writing on paper over computers, tells me, “the biggest thing is not throwing things away. But coming back to them and getting a different understanding or conclusion.”\u003c/p>\n\u003cfigure id=\"attachment_13809003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-800x535.jpg\" alt=\"The audience at Alcatraz listens to Watani Stiner's story.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Alcatraz.Audience.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience at Alcatraz listens to Watani Stiner’s story. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>rothers In Pen writing instructor Zoe Mullery describes the experience as “more like a writing group than a class. People share their work, have dialogue and pushback.” Zoe has been doing this work since 1999; Watani is her student with the second-longest tenure. She says she’s seen firsthand the healing powers of writing: “You end up getting close to people,” she says, “you get to know their stories and see their growth.”\u003c/p>\n\u003cp>The qualitative impact of arts on the healing process is evident, but it’s proven to be difficult to quantify.\u003c/p>\n\u003cp>The \u003ca href=\"http://williamjamesassociation.org/research/\" target=\"_blank\" rel=\"noopener noreferrer\">latest available study\u003c/a> on the impact of the arts in California Prisons was conducted five years ago, in 2012 by Dr. Lawrence Brewster of the University of San Francisco. That study, published in 2014, served as a follow-up to his original study on the subject conducted in the 1980s.\u003c/p>\n\u003cp>Laurie Brooks, Executive Director of the Williams James Association, is currently researching the same impact. “We’ve been focusing on six theories on behavioral change,” Brooks tells me during a phone call, listing off Cognitive Behavioral, Social Learning, Resilience, Social Capital, Performance, and Desistance.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’ve visited these institutions, seen how their bland concrete walls and steel cages are designed to keep humans from dreaming.\u003c/aside>\n\u003cp>Brooks is working with the Center for Evidence Based Corrections out of UC Irvine as well as Dr. Brewster, and has held focus groups to interview participants in the class. She hopes to have the study wrapped by the end of the year, when she plans to present it to power holders in the California Prison System “so they can look at the inmates a different way,” she says. “So they have an opportunity for change.”\u003c/p>\n\u003cp>I’ve never been incarcerated, but have had far too many friends and family members thrown into this country’s bastardized prison system, including my own father. I’ve visited these institutions, seen how their bland concrete walls and steel cages have been designed to keep humans from dreaming. I’ve communicated with loved ones, often through letters or phone calls on illegally acquired burner cell phones, and they often speak of their dreams. What they want to do, how they want to drop an album, write poetry, produce films, and in the end, create a better reality for themselves and their families.\u003c/p>\n\u003cp>As I listened to Larry and Watni Stiner last month, as well as Troy and his daughter Latanya — all of them speaking about how incarceration hurts those inside as well as outside of those bland walls — I clearly heard human beings aspiring to create a better future, despite horrendous things done in the past. What better way to do that than through art?\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>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland, and a weekly columnist for KQED Arts. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13808936/a-father-and-son-together-on-alcatraz-for-the-first-time",
"authors": [
"11491"
],
"categories": [
"arts_2303"
],
"tags": [
"arts_2767",
"arts_1118",
"arts_596",
"arts_1526",
"arts_1985"
],
"featImg": "arts_13808999",
"label": "arts"
},
"arts_12603270": {
"type": "posts",
"id": "arts_12603270",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12603270",
"score": null,
"sort": [
1484244017000
]
},
"guestAuthors": [],
"slug": "alcatraz-displays-irrational-numbers-irrationally-long-prison-sentences",
"title": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences",
"publishDate": 1484244017,
"format": "image",
"headTitle": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Along the left side of a cold, gray cement building on Alcatraz Island, hundreds of colorful NFL jerseys suspended on clothesline hang limp in the cold air.\u003c/p>\n\u003cp>The building is about as long as a football field. Broken windows, peeling paint and the busted out remains of what used to be toilets line the walls. It looks like the dirtiest NFL pro shop imaginable, only the jerseys aren’t for sale. They’re art.\u003c/p>\n\u003cp>“It’s really about shortening irrationally long prison sentences that are too often given for nonviolent minor drug crimes,” says Nelson Saiers, the New York-based artist behind \u003cem>\u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">Shortening: Making the Irrational Rational\u003c/a>, \u003c/em>currently on display on Alcatraz through Sunday, Feb. 5.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302155438″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The exhibition starts in the corner of the New Industries Building with a giant white “3” on a green piece of synthetic turf suspended from the ceiling. From there, the jerseys wind throughout the building, with the numbers on the back spelling out the first several hundred digits of the number pi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Pi is what’s called an irrational number which means it never ends nor repeats,” says the 41-year-old Saiers, who earned a Ph.D. in mathematics at the age of 23 and ran a hedge fund before becoming a full-time artist. “Now the way to turn it into a rational number is to shorten it. So that’s a very good metaphor for what needs to be done to these irrational prison sentences.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3OcZYZTS6q8&feature=youtu.be\u003c/p>\n\u003ch3>Inspired by news headlines\u003c/h3>\n\u003cp>Saiers’ process began with the news of the death of Freddie Gray, a black man in Baltimore, who died while in police custody in the spring of 2015.\u003c/p>\n\u003cp>The incident provoked a discussion between Saiers and a friend about the ongoing issues between communities of color and police departments.\u003c/p>\n\u003cp>“And he said, ‘Well the number one thing they gotta get rid of is football numbers because it’s destroying families,” Saiers says of that conversation. “It’s destroying entire communities.'”\u003c/p>\n\u003cp>Saiers’ friend told him that “football numbers” referred to double-digit prison sentences.\u003c/p>\n\u003cp>“It comes from the idea that if you get 30 years or 44 years or 25 years, it’s a number that looks like a number on a football jersey,” Saiers says. “So the football jerseys hanging in the room point to that expression.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"12605449,12605450,12605451,12605452,12605453\"]\u003c/p>\n\u003ch3>California’s stance on long prison sentences\u003c/h3>\n\u003cp>Many of those double-digit sentences for nonviolent drug crimes date back to tough on crime laws like California’s 1994 “Three Strikes” Law, which established mandatory long prison sentences for repeat offenders.\u003c/p>\n\u003cp>But those sentences have become less common in recent years. Two recent ballot measures — 2012’s Proposition 36 and 2014’s Proposition 47 — as well as Governor Jerry Brown’s prison realignment plan passed in 2011, were all designed in part to reduce the kinds of long prison terms Saiers protests in his work.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2012/11/12/prop-36-may-release-felons-from-prison-but-how-many/\" target=\"_blank\" rel=\"noopener\">Proposition 36\u003c/a> amended the 1994 Three Strikes Law to establish more lenient sentencing for nonviolent offenders, and \u003ca href=\"https://ww2.kqed.org/news/2015/08/22/proposition-47-gives-former-felons-a-new-chance/\" target=\"_blank\" rel=\"noopener\">Proposition 47\u003c/a> reclassified some nonviolent drug offenses from felonies down to misdemeanors. Both measures included opportunities for offenders already behind bars to appeal and potentially reduce their current sentences. \u003ca href=\"https://ww2.kqed.org/news/2016/09/29/five-years-later-many-see-criminal-justice-realignment-as-success/\" target=\"_blank\" rel=\"noopener\">Realignment\u003c/a> called for moving some nonviolent offenders, including those with drug convictions, out of state prisons and into county jails.\u003c/p>\n\u003cfigure id=\"attachment_12605440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605440 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg\" alt='A football jersey is strung on hemp rope as part of the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A football jersey is strung on hemp rope as part of the art installation “Shortening: Making the Irrational Rational”. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even with all of that progress — plus the possibility of even more reduced sentences after the passage last November of \u003ca href=\"http://elections.kqed.org/article/11076610/6-ways-recreational-pot-would-change-california-and-7-ways-it-wouldnt\" target=\"_blank\" rel=\"noopener\">Proposition 64\u003c/a> legalizing recreational marijuana — this is not a settled issue.\u003c/p>\n\u003cp>“While those changes have happened and continue to happen, you will still find people in state prison who are serving long sentences, life sentences,” says Krissi Khokhobashvili, spokeswoman for the California Department of Corrections and Rehabilitation.\u003c/p>\n\u003ch3>The many layers of \u003cem>Shortening\u003c/em>\u003c/h3>\n\u003cp>The complexities of Saiers’ artwork go beyond football jerseys and the number pi. For example, the piece also relates to the storied history of Alcatraz.\u003c/p>\n\u003cfigure id=\"attachment_12605438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg\" alt='Black duct tape covers up the term \"Redskins\" on a football jersey at the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black duct tape covers up the term “Redskins” on a football jersey at the art installation “Shortening: Making the Irrational Rational”. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saiers repeatedly pays homage in the exhibition to the Native American presence on The Rock. He put duct tape over jerseys emblazoned with the word “Redskins” to “mute” what he sees as a derogatory term. The numbers on those jerseys — 19 and 89 — also reflect the Native American occupation of Alcatraz, where 89 Native Americans held the island for 19 months between Nov. 1969 and Jun. 1971 — an action that helped give birth to the modern Native American civil rights movement.\u003c/p>\n\u003cfigure id=\"attachment_12605439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605439 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg\" alt=\"A white number 11 Chicago Bears jersey with the name "Capone" is strung up as part of the art installation "Shortening: Making the Irrational Rational" at Alcatraz on Tuesday, October 25, 2016. According to the artist, the smaller Capone jersey signifies that Capone's sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A white number 11 Chicago Bears jersey with the name “Capone” is strung up as part of the art installation “Shortening: Making the Irrational Rational” on Alcatraz. According to the artist, the smaller Capone jersey signifies that Capone’s sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also references famous Alcatraz inmates like Chicago mob boss Al Capone and Robert Stroud (better known as the Birdman of Alcatraz). Saiers says the numbers on the jerseys of bird-related teams (Eagles, Ravens, Seahawks, Cardinals, etc.) add up to 594, which was Stroud’s inmate number at Alcatraz.\u003c/p>\n\u003cp>In the same vein, most of the Chicago Bears jerseys show number 85, representing Capone, who wore that number while imprisoned on Alcatraz. Saiers says this number 11 jersey with Capone’s name on the back represents the crime boss’ 11-year prison sentence for tax evasion. He says the jersey is smaller than all the others because Capone’s is an example of a sentence that should’ve been lengthened instead of shortened.\u003c/p>\n\u003cfigure id=\"attachment_12605441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg\" alt=\"Three jerseys are strung near the ceiling as part of the art installation "Shortening: Making the Irrational Rational on Tuesday, October 25, 2016. The letters on the back of the jersey are a scrambled version of "Off with his head," a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll's "Alice in Wonderland."\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three jerseys are strung near the ceiling as part of the art installation “Shortening: Making the Irrational Rational.” The letters on the back of the jersey are a scrambled version of “Off with his head,” a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll’s “Alice in Wonderland.” \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest art on Alcatraz\u003c/h3>\n\u003cp>Saiers isn’t the first artist to use Alcatraz as a platform to speak out against unfair incarceration.\u003c/p>\n\u003cp>For example, in 2012, a group of Bay Area artists staged a choreographed dance film at Alcatraz called \u003ca href=\"https://vimeo.com/52877758\" target=\"_blank\" rel=\"noopener\">\u003cem>Well Contested Sites\u003c/em>\u003c/a>. They were attracted by the site’s complex history of activism and incarceration as well as its physical incongruity as both an old, decrepit prison and one of the world’s most scenic tourist attractions.\u003c/p>\n\u003cp>“What happens all too often is that these beautiful places become distant places of oppression for certain people,” says Reggie Daniels, one of several artists involved in the film who was previously incarcerated. “So while other people are experiencing the beauty, there are people who are experiencing these dreadful harms and living and suffering with a very harsh quality of life in beautiful spaces like San Francisco.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/52877758\" width=\"800\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003ca href=\"https://vimeo.com/52877758\">Well Contested Sites\u003c/a> from \u003ca href=\"https://vimeo.com/raptproductions\">Rapt Productions\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Perhaps the most well-known recent example of art activism on Alcatraz was \u003ca href=\"https://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003cem>@Large\u003c/em>\u003c/a>, a 2014-15 exhibition designed by the famous Chinese artist Ai Wei Wei. \u003cem>@Large \u003c/em>explored what it means to be free and was seen by nearly 900,000 people during its seven month stay on the island.\u003c/p>\n\u003cp>“Alcatraz is a place of protest,” says Kate Bickert, who helps run the Golden Gate National Parks Conservancy’s \u003cem>Arts in the Parks\u003c/em> program. This program brought \u003cem>Shortening: Making the Irrational Rational \u003c/em>to The Rock.\u003c/p>\n\u003ch3>Drawing out the meaning\u003c/h3>\n\u003cp>Beyond historical symbolism, Saiers has a much more practical reason for staging his piece on Alcatraz: The setting helps bring out the meaning in a work that might otherwise seem abstract and impenetrable.\u003c/p>\n\u003cp>“Having the backdrop be Alcatraz would certainly point people in the direction that this is about prisons,” Saiers says. “Otherwise, you come in and see a room of football jerseys with strange numbers on it and duct tape and things like that, and you may not naturally think about prison sentences.”\u003c/p>\n\u003cp>Even with the Alcatraz hint, some people still don’t get it. A fair number of visitors do a quick loop through the installation without really stopping. But for some people, like Galen Tom of Fairfield, the unique setting helps the work click into place.\u003c/p>\n\u003cfigure id=\"attachment_12605454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605454 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg\" alt='Visitors at Alcatraz share their feelings about the art installation \"Shortening: Making the Irrational Rational.\" Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors at Alcatraz share their feelings about the art installation “Shortening: Making the Irrational Rational.” Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit. \u003ccite>(Photo: Courtesy of the National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, it really sends a message especially when you don’t get it at first and you think, ‘Oh, I’m in a prison and I’m going through it and these numbers represent people who have served years — some low some high — in drug related offenses,'” Tom says. “It definitely hits at home of understanding and seeing the gloom of the interior of this place.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more details about ‘Shortening on Alcatraz,’ \u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Nelson Saiers' abstract art installation on The Rock combines football jerseys, the number Pi and prison terms to protest lengthy sentences for nonviolent offenders.",
"status": "publish",
"parent": 0,
"modified": 1726770972,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 35,
"wordCount": 1744
},
"headData": {
"title": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences | KQED",
"description": "Nelson Saiers' abstract art installation on The Rock combines football jerseys, the number Pi and prison terms to protest lengthy sentences for nonviolent offenders.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences",
"datePublished": "2017-01-12T10:00:17-08:00",
"dateModified": "2024-09-19T11:36:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestFields": "0",
"sticky": false,
"path": "/arts/12603270/alcatraz-displays-irrational-numbers-irrationally-long-prison-sentences",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Along the left side of a cold, gray cement building on Alcatraz Island, hundreds of colorful NFL jerseys suspended on clothesline hang limp in the cold air.\u003c/p>\n\u003cp>The building is about as long as a football field. Broken windows, peeling paint and the busted out remains of what used to be toilets line the walls. It looks like the dirtiest NFL pro shop imaginable, only the jerseys aren’t for sale. They’re art.\u003c/p>\n\u003cp>“It’s really about shortening irrationally long prison sentences that are too often given for nonviolent minor drug crimes,” says Nelson Saiers, the New York-based artist behind \u003cem>\u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">Shortening: Making the Irrational Rational\u003c/a>, \u003c/em>currently on display on Alcatraz through Sunday, Feb. 5.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/302155438″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/302155438″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The exhibition starts in the corner of the New Industries Building with a giant white “3” on a green piece of synthetic turf suspended from the ceiling. From there, the jerseys wind throughout the building, with the numbers on the back spelling out the first several hundred digits of the number pi.\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>“Pi is what’s called an irrational number which means it never ends nor repeats,” says the 41-year-old Saiers, who earned a Ph.D. in mathematics at the age of 23 and ran a hedge fund before becoming a full-time artist. “Now the way to turn it into a rational number is to shorten it. So that’s a very good metaphor for what needs to be done to these irrational prison sentences.”\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/3OcZYZTS6q8'\n title='//www.youtube.com/embed/3OcZYZTS6q8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Inspired by news headlines\u003c/h3>\n\u003cp>Saiers’ process began with the news of the death of Freddie Gray, a black man in Baltimore, who died while in police custody in the spring of 2015.\u003c/p>\n\u003cp>The incident provoked a discussion between Saiers and a friend about the ongoing issues between communities of color and police departments.\u003c/p>\n\u003cp>“And he said, ‘Well the number one thing they gotta get rid of is football numbers because it’s destroying families,” Saiers says of that conversation. “It’s destroying entire communities.'”\u003c/p>\n\u003cp>Saiers’ friend told him that “football numbers” referred to double-digit prison sentences.\u003c/p>\n\u003cp>“It comes from the idea that if you get 30 years or 44 years or 25 years, it’s a number that looks like a number on a football jersey,” Saiers says. “So the football jerseys hanging in the room point to that expression.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "rectangular",
"ids": "12605449,12605450,12605451,12605452,12605453",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>California’s stance on long prison sentences\u003c/h3>\n\u003cp>Many of those double-digit sentences for nonviolent drug crimes date back to tough on crime laws like California’s 1994 “Three Strikes” Law, which established mandatory long prison sentences for repeat offenders.\u003c/p>\n\u003cp>But those sentences have become less common in recent years. Two recent ballot measures — 2012’s Proposition 36 and 2014’s Proposition 47 — as well as Governor Jerry Brown’s prison realignment plan passed in 2011, were all designed in part to reduce the kinds of long prison terms Saiers protests in his work.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2012/11/12/prop-36-may-release-felons-from-prison-but-how-many/\" target=\"_blank\" rel=\"noopener\">Proposition 36\u003c/a> amended the 1994 Three Strikes Law to establish more lenient sentencing for nonviolent offenders, and \u003ca href=\"https://ww2.kqed.org/news/2015/08/22/proposition-47-gives-former-felons-a-new-chance/\" target=\"_blank\" rel=\"noopener\">Proposition 47\u003c/a> reclassified some nonviolent drug offenses from felonies down to misdemeanors. Both measures included opportunities for offenders already behind bars to appeal and potentially reduce their current sentences. \u003ca href=\"https://ww2.kqed.org/news/2016/09/29/five-years-later-many-see-criminal-justice-realignment-as-success/\" target=\"_blank\" rel=\"noopener\">Realignment\u003c/a> called for moving some nonviolent offenders, including those with drug convictions, out of state prisons and into county jails.\u003c/p>\n\u003cfigure id=\"attachment_12605440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605440 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg\" alt='A football jersey is strung on hemp rope as part of the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A football jersey is strung on hemp rope as part of the art installation “Shortening: Making the Irrational Rational”. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even with all of that progress — plus the possibility of even more reduced sentences after the passage last November of \u003ca href=\"http://elections.kqed.org/article/11076610/6-ways-recreational-pot-would-change-california-and-7-ways-it-wouldnt\" target=\"_blank\" rel=\"noopener\">Proposition 64\u003c/a> legalizing recreational marijuana — this is not a settled issue.\u003c/p>\n\u003cp>“While those changes have happened and continue to happen, you will still find people in state prison who are serving long sentences, life sentences,” says Krissi Khokhobashvili, spokeswoman for the California Department of Corrections and Rehabilitation.\u003c/p>\n\u003ch3>The many layers of \u003cem>Shortening\u003c/em>\u003c/h3>\n\u003cp>The complexities of Saiers’ artwork go beyond football jerseys and the number pi. For example, the piece also relates to the storied history of Alcatraz.\u003c/p>\n\u003cfigure id=\"attachment_12605438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg\" alt='Black duct tape covers up the term \"Redskins\" on a football jersey at the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black duct tape covers up the term “Redskins” on a football jersey at the art installation “Shortening: Making the Irrational Rational”. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saiers repeatedly pays homage in the exhibition to the Native American presence on The Rock. He put duct tape over jerseys emblazoned with the word “Redskins” to “mute” what he sees as a derogatory term. The numbers on those jerseys — 19 and 89 — also reflect the Native American occupation of Alcatraz, where 89 Native Americans held the island for 19 months between Nov. 1969 and Jun. 1971 — an action that helped give birth to the modern Native American civil rights movement.\u003c/p>\n\u003cfigure id=\"attachment_12605439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605439 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg\" alt=\"A white number 11 Chicago Bears jersey with the name "Capone" is strung up as part of the art installation "Shortening: Making the Irrational Rational" at Alcatraz on Tuesday, October 25, 2016. According to the artist, the smaller Capone jersey signifies that Capone's sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A white number 11 Chicago Bears jersey with the name “Capone” is strung up as part of the art installation “Shortening: Making the Irrational Rational” on Alcatraz. According to the artist, the smaller Capone jersey signifies that Capone’s sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also references famous Alcatraz inmates like Chicago mob boss Al Capone and Robert Stroud (better known as the Birdman of Alcatraz). Saiers says the numbers on the jerseys of bird-related teams (Eagles, Ravens, Seahawks, Cardinals, etc.) add up to 594, which was Stroud’s inmate number at Alcatraz.\u003c/p>\n\u003cp>In the same vein, most of the Chicago Bears jerseys show number 85, representing Capone, who wore that number while imprisoned on Alcatraz. Saiers says this number 11 jersey with Capone’s name on the back represents the crime boss’ 11-year prison sentence for tax evasion. He says the jersey is smaller than all the others because Capone’s is an example of a sentence that should’ve been lengthened instead of shortened.\u003c/p>\n\u003cfigure id=\"attachment_12605441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg\" alt=\"Three jerseys are strung near the ceiling as part of the art installation "Shortening: Making the Irrational Rational on Tuesday, October 25, 2016. The letters on the back of the jersey are a scrambled version of "Off with his head," a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll's "Alice in Wonderland."\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three jerseys are strung near the ceiling as part of the art installation “Shortening: Making the Irrational Rational.” The letters on the back of the jersey are a scrambled version of “Off with his head,” a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll’s “Alice in Wonderland.” \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest art on Alcatraz\u003c/h3>\n\u003cp>Saiers isn’t the first artist to use Alcatraz as a platform to speak out against unfair incarceration.\u003c/p>\n\u003cp>For example, in 2012, a group of Bay Area artists staged a choreographed dance film at Alcatraz called \u003ca href=\"https://vimeo.com/52877758\" target=\"_blank\" rel=\"noopener\">\u003cem>Well Contested Sites\u003c/em>\u003c/a>. They were attracted by the site’s complex history of activism and incarceration as well as its physical incongruity as both an old, decrepit prison and one of the world’s most scenic tourist attractions.\u003c/p>\n\u003cp>“What happens all too often is that these beautiful places become distant places of oppression for certain people,” says Reggie Daniels, one of several artists involved in the film who was previously incarcerated. “So while other people are experiencing the beauty, there are people who are experiencing these dreadful harms and living and suffering with a very harsh quality of life in beautiful spaces like San Francisco.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/52877758\" width=\"800\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003ca href=\"https://vimeo.com/52877758\">Well Contested Sites\u003c/a> from \u003ca href=\"https://vimeo.com/raptproductions\">Rapt Productions\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Perhaps the most well-known recent example of art activism on Alcatraz was \u003ca href=\"https://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003cem>@Large\u003c/em>\u003c/a>, a 2014-15 exhibition designed by the famous Chinese artist Ai Wei Wei. \u003cem>@Large \u003c/em>explored what it means to be free and was seen by nearly 900,000 people during its seven month stay on the island.\u003c/p>\n\u003cp>“Alcatraz is a place of protest,” says Kate Bickert, who helps run the Golden Gate National Parks Conservancy’s \u003cem>Arts in the Parks\u003c/em> program. This program brought \u003cem>Shortening: Making the Irrational Rational \u003c/em>to The Rock.\u003c/p>\n\u003ch3>Drawing out the meaning\u003c/h3>\n\u003cp>Beyond historical symbolism, Saiers has a much more practical reason for staging his piece on Alcatraz: The setting helps bring out the meaning in a work that might otherwise seem abstract and impenetrable.\u003c/p>\n\u003cp>“Having the backdrop be Alcatraz would certainly point people in the direction that this is about prisons,” Saiers says. “Otherwise, you come in and see a room of football jerseys with strange numbers on it and duct tape and things like that, and you may not naturally think about prison sentences.”\u003c/p>\n\u003cp>Even with the Alcatraz hint, some people still don’t get it. A fair number of visitors do a quick loop through the installation without really stopping. But for some people, like Galen Tom of Fairfield, the unique setting helps the work click into place.\u003c/p>\n\u003cfigure id=\"attachment_12605454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605454 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg\" alt='Visitors at Alcatraz share their feelings about the art installation \"Shortening: Making the Irrational Rational.\" Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors at Alcatraz share their feelings about the art installation “Shortening: Making the Irrational Rational.” Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit. \u003ccite>(Photo: Courtesy of the National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, it really sends a message especially when you don’t get it at first and you think, ‘Oh, I’m in a prison and I’m going through it and these numbers represent people who have served years — some low some high — in drug related offenses,'” Tom says. “It definitely hits at home of understanding and seeing the gloom of the interior of this place.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\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>For more details about ‘Shortening on Alcatraz,’ \u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12603270/alcatraz-displays-irrational-numbers-irrationally-long-prison-sentences",
"authors": [
"11260"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596",
"arts_1526"
],
"featImg": "arts_12605436",
"label": "arts"
},
"arts_12164405": {
"type": "posts",
"id": "arts_12164405",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12164405",
"score": null,
"sort": [
1475852401000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1475852401,
"format": "image",
"title": "Weezy Demons: What We Learned From Lil Wayne's New Prison Memoir",
"headTitle": "Weezy Demons: What We Learned From Lil Wayne’s New Prison Memoir | KQED",
"content": "\u003cp>\u003cem>[\u003cstrong>Ed. note\u003c/strong>: Lil Wayne’s recollections include sex, drugs and profanity; we present them here uncensored. Reader be advised.]\u003c/em>\u003c/p>\n\u003cp>If you were to line up every famous piece of writing penned while its author was incarcerated, it would make for one vast and varied bookshelf — from the great Nelson Mandela’s autobiography \u003cem>Conversations With Myself\u003c/em>, written during his 27 years spent in prison, to the beginnings of Adolf Hitler’s \u003cem>Mein Kampf\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12167808\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167808\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg\" alt=\"'Gone 'til November,' by Lil Tunechi himself. \" width=\"432\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-400x555.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2.jpg 525w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Gone ’til November,’ by Lil Tunechi himself.\u003c/figcaption>\u003c/figure>\n\u003cp>Suffice it to say, the free time, loss of self-determination, forced reflection, and flat-out boredom that come with incarceration have long been recognized as a petri dish for the written word.\u003c/p>\n\u003cp>Exactly where in this literary canon will history place \u003cem>Gone ‘Til November\u003c/em>, Lil Wayne’s newly published journal from his eight months behind bars? Only time will tell. What I can tell you now, having recently finished the 176-page book (out Oct. 11; Penguin/Random House), is that prison sounds truly, mundanely and consistently miserable — even if you’re a celebrity worth $150 million.\u003c/p>\n\u003cp>Dwayne Michael Carter Jr., 34, is best known to the casual Top 40 fan as the raspy, cough syrup-coated drawl behind songs like 2008’s inescapable “Lollipop.” But to people who spend their days concerned with these sorts of rankings, he’s also one of the greatest rappers of all time; the \u003cem>Washington Post\u003c/em> once called him a “nonsensical genius,” while Kendrick Lamar, hip-hop’s current golden child, continues to \u003ca href=\"http://www.bet.com/music/2016/09/09/watch-kendrick-lamar-literally-beg-lil-wayne-not-to-retire.html\" target=\"_blank\" rel=\"noopener\">pledge his allegiance\u003c/a>. Wayne is scattershot at times, sure — but vital to the fabric of modern rap music nonetheless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is part of why it made for such screaming headlines when Lil Wayne, aka Weezy, was convicted of possession of a firearm in 2009, and in March 2010 began serving a year at Rikers Island. That sentence was reduced to eight months, over the course of which the rapper apparently journaled nearly every single day.\u003c/p>\n\u003cp>The result is a simple (and, as someone in his camp clearly realized, easily marketable) diary: Each entry is titled with that day’s overarching mood or sentiment, from “Day 1 Up In This Bitch!” and “Welcome 2 Da Family” to “This Fucking Place.”\u003c/p>\n\u003cfigure id=\"attachment_12168839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg\" alt=\"Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009. \u003ccite>(Andy Kropa/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re looking for the TMZ highlight reel, it’s easy to find. Visiting hours bring drop-ins from Kanye, Diddy and Drake, the last of whom apparently confirms the fact that \u003ca href=\"http://www.eonline.com/news/798827/lil-wayne-breaks-down-the-moment-he-found-out-drake-slept-with-his-girlfriend\" target=\"_blank\" rel=\"noopener\">he used to sleep with Wayne’s then-current girlfriend\u003c/a>. (That entry is titled “Bad Day.”)\u003c/p>\n\u003cp>Here’s the rub, though: If you’re in for the long haul with Weezy — and you should be — you’ll soon notice that the gemstones, the tiny yet genuine flashes of epiphany, are buried so far beneath the mundanities that they almost give you whiplash when discovered.\u003c/p>\n\u003cp>Truly, if there’s one thing that makes plain exactly how little editorial polish this book received, it’s not his vocabulary or syntax. It’s the fact that this two-time BET Lyricist of the Year’s honest accounts of overwhelming sadness, regret and anger are wedged between sentences like: “Doritos burrito time! Charlie showed me how to add a beef jerky stick in my shit a couple of days ago. Shit is great!” Which is, of course, how real life goes. Deep feelings don’t always wait for that perfectly timed 15-minute mark. Sometimes they arrive around lunch.\u003c/p>\n\u003cfigure id=\"attachment_12167824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg\" alt=\"He clearly didn't stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1920x1348.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">He clearly didn’t stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be clear: this book is repetitive, and it’s sometimes a slog. Things that make Weezy happy are generally punctuated by a “Yeah!” while bad things get a “Damn!” Sometimes there are several of each in one paragraph. Facts you will know when you finish this book include an exhaustive inventory of foods Lil Wayne consumed during his time behind bars (coffee with lots of sugar, Cup o’ Noodles, chicken and rice, burritos with either Doritos or Ruffles in them); exercises Lil Wayne did (triceps, obliques and back, usually, if he goes to yard; push-ups later in his cell before bed); and TV shows and movies Lil Wayne watched (a lot of sports, loves the Red Sox, hates the Yankees, he thought \u003cem>Shutter Island\u003c/em> was cool, he’s a \u003cem>big\u003c/em> fan of \u003cem>Martin\u003c/em>, and he’s down for \u003cem>American Idol\u003c/em> and\u003cem> Dancing With the Stars\u003c/em>, though that last one mainly because Erin Andrews is hot). Nearly every entry concludes “Push-ups, prayer, ESPN, sleep.”\u003c/p>\n\u003cfigure id=\"attachment_12168831\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168831\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg\" alt=\"Lil Wayne before a performance in Las Vegas in September 2015.\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg 871w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne before a performance in Las Vegas in September 2015. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But every 15 pages or so, you also get something like this:\u003c/p>\n\u003cblockquote>\u003cp>This letter that I got from a church made me think a lot. They were making some real good points about how if I’m going to be rapping, I should be rapping for the Lord ‘cause that’s the reason why I’m here. I didn’t really know how to take that. Did they mean the reason for me being here on Earth or in prison? Regardless of the point that they were trying to make, it really did have me considering that maybe I am going down the wrong road.\u003c/p>\n\u003cp>It’s not like I thought I should stop rapping or no shit like that, but more if I was rapping for the Lord, I’d probably be the coldest nigga on the planet. I was looking at it like everything that I do already gets followed, so if I fucked around and did that, I would literally change the world. It would be way bigger than having a million mothafuckas walking around with tattoos every-damn-where with dreadlocks or saying shit like “bling-bling.” I would truly have the power of having pop culture turn to God. I would have straight killers in church every Sunday.\u003c/p>\n\u003cp>Man, I really got lost in those thoughts listening to Lauryn Hill and dozed off. That’s when God spoke to me in my sleep and told me to stop tripping. That’s not my calling…yet, that is…’cause if it was, those types of thoughts would be popping in my head instead of “I will merk you,” “I will shine on you,” and “I’m going to fuck that bitch.” It was a cool thought though… but it was just a thought.\u003c/p>\u003c/blockquote>\n\u003cp>Classic Lil Wayne: He knows better than anyone the greatness of which he’s capable; he’d just generally prefer to ignore it.\u003c/p>\n\u003cfigure id=\"attachment_12168829\" class=\"wp-caption aligncenter\" style=\"max-width: 519px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168829\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg\" alt=\"Lil Wayne performs in Houston on Aug. 13, 2016.\" width=\"519\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg 519w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg 886w\" sizes=\"(max-width: 519px) 100vw, 519px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs in Houston on Aug. 13, 2016. \u003ccite>( Rick Kern/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tempting to blame his \u003ca href=\"http://www.thedailybeast.com/articles/2016/06/18/the-cocktail-that-s-killing-lil-wayne.html\" target=\"_blank\" rel=\"noopener\">well-documented codeine addiction\u003c/a> for, well, a lot of things. But if you’ve been following the man’s output, it’s undeniable that in the releases since his career-defining \u003cem>Tha Carter III\u003c/em>, he’s become that gifted kid you want to send home from school with a note: \u003cem>Not quite working up to potential\u003c/em>. (Worth adding here, perhaps, that he actually was an honors student at his magnet high school in New Orleans until the age of 14, when he dropped out to focus on music.)\u003c/p>\n\u003cp>Which is part of why, for Lil Wayne fans, the prospect of his rapping skillfully, intelligently and introspectively again — even sorrowfully, as he does on “Mad,” from Solange’s new record — feels like the sun emerging from behind the clouds. As Micah Peters recently put it in a \u003ca href=\"https://theringer.com/in-praise-of-lil-waynes-r-b-guest-verses-b18eee17a041#.6fhay7oiu\" target=\"_blank\" rel=\"noopener\">Ringer piece praising Wayne’s guest verses\u003c/a>, “it’s not that he only can rap about weed and cunnilingus; it’s just that he has to remember to \u003cem>not\u003c/em> rap about those things.” When he tries even a little, he can make people cry.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZI_zlkGN46Y\u003c/p>\n\u003cp>Other moments of self-reflection arrive with a less-defined lightbulb. He spends a lot of time on the phone with his kids’ mothers; he feels awful that he’s not there for birthdays. He eats Oreos and wishes he was high. He answers fan mail. He gets a job as a suicide prevention aide, then quits after a few shifts, noting vaguely how unsettling it was to be that close to suicide — a sentiment that takes on new weight in light of that verse on “Mad,” in which he raps about his own early suicide attempt. He records a verse for Drake’s “Light Up” over the phone. He gets an mp3 player taken away from him; he reads Anthony Kiedis’ autobiography. He convinces his girl to come for a visitation not wearing any underwear, just so he can sneak a look. Security catches her and makes her put boxers on.\u003c/p>\n\u003cp>By the time we get to the exuberant last entry — titled, helpfully, “Last Day” — we get a clearly enunciated Moral of the Story.\u003c/p>\n\u003cp>“Jail has changed me forever,” he writes. “The greatest positive that I take away from this bullshit is that I was able to tap into a depth of creativity that I never knew was in me. I’ve always thought I needed things like being high with my niggas, a Buggati, a dope ass crib, or some big booty bitches to be creative. But once all that was taken away from me, my creativity was put to the ultimate test. And I passed that shit like a mothafucka! I’ve never felt more creative in my life!”\u003c/p>\n\u003cfigure id=\"attachment_12168818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg\" alt=\"Lil Wayne sings 'Take Me Out to the Ball Game' during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne sings ‘Take Me Out to the Ball Game’ during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, we know that in the nearly six years since Wayne’s release, that has \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://pitchfork.com/news/68015-lil-wayne-tweets-hes-defenseless-and-mentally-defeated-artists-respond/\" target=\"_blank\" rel=\"noopener\">rarely seemed\u003c/a> to \u003ca href=\"http://www.nydailynews.com/entertainment/music/lil-wayne-recovers-seizure-attention-lean-resurfaces-article-1.2708471\" target=\"_blank\" rel=\"noopener\">be the case\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/LilTunechi/status/771982753717891072\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace doesn’t come easy to Dwayne Michael Carter Jr. He sounds lonely a lot — distrustful of other people, and also loathe to be left alone with his thoughts. (As he laments on “Mad”: “It’s hard when you only got fans around and no fam around, and if they are, then their hands are out…”) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But if this book provides a window into anything — between the food lists and the push-ups and the damns and the yeahs — it’s a glimpse at a person learning to nurture a quiet resilience in the face of boredom, which is to say in the face of himself.\u003c/span>\u003c/p>\n\u003cp>Does that count as rehabilitation? Probably depends on your view of prison. (How about if it lasts 18 years instead of eight months?) Regardless, \u003ci>Gone ‘Til November\u003c/i> makes clear exactly where Weezy’s demons lie. And also this: he’s not going down without a fight.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1962,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705032844,
"excerpt": "The man some call the greatest rapper alive chronicles eight months behind bars at Rikers, in an earnest tale of anger, regret, and the power of Doritos burritos. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The man some call the greatest rapper alive chronicles eight months behind bars at Rikers, in an earnest tale of anger, regret, and the power of Doritos burritos. ",
"title": "Weezy Demons: What We Learned From Lil Wayne's New Prison Memoir | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Weezy Demons: What We Learned From Lil Wayne's New Prison Memoir",
"datePublished": "2016-10-07T08:00:01-07:00",
"dateModified": "2024-01-11T20:14:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "weezy-demons-what-we-learned-from-lil-waynes-new-prison-memoir",
"status": "publish",
"sticky": false,
"nprStoryId": "497029293",
"path": "/arts/12164405/weezy-demons-what-we-learned-from-lil-waynes-new-prison-memoir",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>[\u003cstrong>Ed. note\u003c/strong>: Lil Wayne’s recollections include sex, drugs and profanity; we present them here uncensored. Reader be advised.]\u003c/em>\u003c/p>\n\u003cp>If you were to line up every famous piece of writing penned while its author was incarcerated, it would make for one vast and varied bookshelf — from the great Nelson Mandela’s autobiography \u003cem>Conversations With Myself\u003c/em>, written during his 27 years spent in prison, to the beginnings of Adolf Hitler’s \u003cem>Mein Kampf\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12167808\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167808\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg\" alt=\"'Gone 'til November,' by Lil Tunechi himself. \" width=\"432\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-400x555.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2.jpg 525w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Gone ’til November,’ by Lil Tunechi himself.\u003c/figcaption>\u003c/figure>\n\u003cp>Suffice it to say, the free time, loss of self-determination, forced reflection, and flat-out boredom that come with incarceration have long been recognized as a petri dish for the written word.\u003c/p>\n\u003cp>Exactly where in this literary canon will history place \u003cem>Gone ‘Til November\u003c/em>, Lil Wayne’s newly published journal from his eight months behind bars? Only time will tell. What I can tell you now, having recently finished the 176-page book (out Oct. 11; Penguin/Random House), is that prison sounds truly, mundanely and consistently miserable — even if you’re a celebrity worth $150 million.\u003c/p>\n\u003cp>Dwayne Michael Carter Jr., 34, is best known to the casual Top 40 fan as the raspy, cough syrup-coated drawl behind songs like 2008’s inescapable “Lollipop.” But to people who spend their days concerned with these sorts of rankings, he’s also one of the greatest rappers of all time; the \u003cem>Washington Post\u003c/em> once called him a “nonsensical genius,” while Kendrick Lamar, hip-hop’s current golden child, continues to \u003ca href=\"http://www.bet.com/music/2016/09/09/watch-kendrick-lamar-literally-beg-lil-wayne-not-to-retire.html\" target=\"_blank\" rel=\"noopener\">pledge his allegiance\u003c/a>. Wayne is scattershot at times, sure — but vital to the fabric of modern rap music nonetheless.\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>Which is part of why it made for such screaming headlines when Lil Wayne, aka Weezy, was convicted of possession of a firearm in 2009, and in March 2010 began serving a year at Rikers Island. That sentence was reduced to eight months, over the course of which the rapper apparently journaled nearly every single day.\u003c/p>\n\u003cp>The result is a simple (and, as someone in his camp clearly realized, easily marketable) diary: Each entry is titled with that day’s overarching mood or sentiment, from “Day 1 Up In This Bitch!” and “Welcome 2 Da Family” to “This Fucking Place.”\u003c/p>\n\u003cfigure id=\"attachment_12168839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg\" alt=\"Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009. \u003ccite>(Andy Kropa/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re looking for the TMZ highlight reel, it’s easy to find. Visiting hours bring drop-ins from Kanye, Diddy and Drake, the last of whom apparently confirms the fact that \u003ca href=\"http://www.eonline.com/news/798827/lil-wayne-breaks-down-the-moment-he-found-out-drake-slept-with-his-girlfriend\" target=\"_blank\" rel=\"noopener\">he used to sleep with Wayne’s then-current girlfriend\u003c/a>. (That entry is titled “Bad Day.”)\u003c/p>\n\u003cp>Here’s the rub, though: If you’re in for the long haul with Weezy — and you should be — you’ll soon notice that the gemstones, the tiny yet genuine flashes of epiphany, are buried so far beneath the mundanities that they almost give you whiplash when discovered.\u003c/p>\n\u003cp>Truly, if there’s one thing that makes plain exactly how little editorial polish this book received, it’s not his vocabulary or syntax. It’s the fact that this two-time BET Lyricist of the Year’s honest accounts of overwhelming sadness, regret and anger are wedged between sentences like: “Doritos burrito time! Charlie showed me how to add a beef jerky stick in my shit a couple of days ago. Shit is great!” Which is, of course, how real life goes. Deep feelings don’t always wait for that perfectly timed 15-minute mark. Sometimes they arrive around lunch.\u003c/p>\n\u003cfigure id=\"attachment_12167824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg\" alt=\"He clearly didn't stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1920x1348.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">He clearly didn’t stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be clear: this book is repetitive, and it’s sometimes a slog. Things that make Weezy happy are generally punctuated by a “Yeah!” while bad things get a “Damn!” Sometimes there are several of each in one paragraph. Facts you will know when you finish this book include an exhaustive inventory of foods Lil Wayne consumed during his time behind bars (coffee with lots of sugar, Cup o’ Noodles, chicken and rice, burritos with either Doritos or Ruffles in them); exercises Lil Wayne did (triceps, obliques and back, usually, if he goes to yard; push-ups later in his cell before bed); and TV shows and movies Lil Wayne watched (a lot of sports, loves the Red Sox, hates the Yankees, he thought \u003cem>Shutter Island\u003c/em> was cool, he’s a \u003cem>big\u003c/em> fan of \u003cem>Martin\u003c/em>, and he’s down for \u003cem>American Idol\u003c/em> and\u003cem> Dancing With the Stars\u003c/em>, though that last one mainly because Erin Andrews is hot). Nearly every entry concludes “Push-ups, prayer, ESPN, sleep.”\u003c/p>\n\u003cfigure id=\"attachment_12168831\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168831\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg\" alt=\"Lil Wayne before a performance in Las Vegas in September 2015.\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg 871w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne before a performance in Las Vegas in September 2015. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But every 15 pages or so, you also get something like this:\u003c/p>\n\u003cblockquote>\u003cp>This letter that I got from a church made me think a lot. They were making some real good points about how if I’m going to be rapping, I should be rapping for the Lord ‘cause that’s the reason why I’m here. I didn’t really know how to take that. Did they mean the reason for me being here on Earth or in prison? Regardless of the point that they were trying to make, it really did have me considering that maybe I am going down the wrong road.\u003c/p>\n\u003cp>It’s not like I thought I should stop rapping or no shit like that, but more if I was rapping for the Lord, I’d probably be the coldest nigga on the planet. I was looking at it like everything that I do already gets followed, so if I fucked around and did that, I would literally change the world. It would be way bigger than having a million mothafuckas walking around with tattoos every-damn-where with dreadlocks or saying shit like “bling-bling.” I would truly have the power of having pop culture turn to God. I would have straight killers in church every Sunday.\u003c/p>\n\u003cp>Man, I really got lost in those thoughts listening to Lauryn Hill and dozed off. That’s when God spoke to me in my sleep and told me to stop tripping. That’s not my calling…yet, that is…’cause if it was, those types of thoughts would be popping in my head instead of “I will merk you,” “I will shine on you,” and “I’m going to fuck that bitch.” It was a cool thought though… but it was just a thought.\u003c/p>\u003c/blockquote>\n\u003cp>Classic Lil Wayne: He knows better than anyone the greatness of which he’s capable; he’d just generally prefer to ignore it.\u003c/p>\n\u003cfigure id=\"attachment_12168829\" class=\"wp-caption aligncenter\" style=\"max-width: 519px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168829\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg\" alt=\"Lil Wayne performs in Houston on Aug. 13, 2016.\" width=\"519\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg 519w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg 886w\" sizes=\"(max-width: 519px) 100vw, 519px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs in Houston on Aug. 13, 2016. \u003ccite>( Rick Kern/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tempting to blame his \u003ca href=\"http://www.thedailybeast.com/articles/2016/06/18/the-cocktail-that-s-killing-lil-wayne.html\" target=\"_blank\" rel=\"noopener\">well-documented codeine addiction\u003c/a> for, well, a lot of things. But if you’ve been following the man’s output, it’s undeniable that in the releases since his career-defining \u003cem>Tha Carter III\u003c/em>, he’s become that gifted kid you want to send home from school with a note: \u003cem>Not quite working up to potential\u003c/em>. (Worth adding here, perhaps, that he actually was an honors student at his magnet high school in New Orleans until the age of 14, when he dropped out to focus on music.)\u003c/p>\n\u003cp>Which is part of why, for Lil Wayne fans, the prospect of his rapping skillfully, intelligently and introspectively again — even sorrowfully, as he does on “Mad,” from Solange’s new record — feels like the sun emerging from behind the clouds. As Micah Peters recently put it in a \u003ca href=\"https://theringer.com/in-praise-of-lil-waynes-r-b-guest-verses-b18eee17a041#.6fhay7oiu\" target=\"_blank\" rel=\"noopener\">Ringer piece praising Wayne’s guest verses\u003c/a>, “it’s not that he only can rap about weed and cunnilingus; it’s just that he has to remember to \u003cem>not\u003c/em> rap about those things.” When he tries even a little, he can make people cry.\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/ZI_zlkGN46Y'\n title='//www.youtube.com/embed/ZI_zlkGN46Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other moments of self-reflection arrive with a less-defined lightbulb. He spends a lot of time on the phone with his kids’ mothers; he feels awful that he’s not there for birthdays. He eats Oreos and wishes he was high. He answers fan mail. He gets a job as a suicide prevention aide, then quits after a few shifts, noting vaguely how unsettling it was to be that close to suicide — a sentiment that takes on new weight in light of that verse on “Mad,” in which he raps about his own early suicide attempt. He records a verse for Drake’s “Light Up” over the phone. He gets an mp3 player taken away from him; he reads Anthony Kiedis’ autobiography. He convinces his girl to come for a visitation not wearing any underwear, just so he can sneak a look. Security catches her and makes her put boxers on.\u003c/p>\n\u003cp>By the time we get to the exuberant last entry — titled, helpfully, “Last Day” — we get a clearly enunciated Moral of the Story.\u003c/p>\n\u003cp>“Jail has changed me forever,” he writes. “The greatest positive that I take away from this bullshit is that I was able to tap into a depth of creativity that I never knew was in me. I’ve always thought I needed things like being high with my niggas, a Buggati, a dope ass crib, or some big booty bitches to be creative. But once all that was taken away from me, my creativity was put to the ultimate test. And I passed that shit like a mothafucka! I’ve never felt more creative in my life!”\u003c/p>\n\u003cfigure id=\"attachment_12168818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg\" alt=\"Lil Wayne sings 'Take Me Out to the Ball Game' during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne sings ‘Take Me Out to the Ball Game’ during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, we know that in the nearly six years since Wayne’s release, that has \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://pitchfork.com/news/68015-lil-wayne-tweets-hes-defenseless-and-mentally-defeated-artists-respond/\" target=\"_blank\" rel=\"noopener\">rarely seemed\u003c/a> to \u003ca href=\"http://www.nydailynews.com/entertainment/music/lil-wayne-recovers-seizure-attention-lean-resurfaces-article-1.2708471\" target=\"_blank\" rel=\"noopener\">be the case\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "771982753717891072"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace doesn’t come easy to Dwayne Michael Carter Jr. He sounds lonely a lot — distrustful of other people, and also loathe to be left alone with his thoughts. (As he laments on “Mad”: “It’s hard when you only got fans around and no fam around, and if they are, then their hands are out…”) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But if this book provides a window into anything — between the food lists and the push-ups and the damns and the yeahs — it’s a glimpse at a person learning to nurture a quiet resilience in the face of boredom, which is to say in the face of himself.\u003c/span>\u003c/p>\n\u003cp>Does that count as rehabilitation? Probably depends on your view of prison. (How about if it lasts 18 years instead of eight months?) Regardless, \u003ci>Gone ‘Til November\u003c/i> makes clear exactly where Weezy’s demons lie. And also this: he’s not going down without a fight.\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> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12164405/weezy-demons-what-we-learned-from-lil-waynes-new-prison-memoir",
"authors": [
"7237"
],
"categories": [
"arts_73",
"arts_69"
],
"tags": [
"arts_1118",
"arts_831",
"arts_596",
"arts_1526",
"arts_974"
],
"featImg": "arts_12168843",
"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=prison": {
"isFetching": false,
"latestQuery": {
"from": 48,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 11,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 59,
"relation": "eq"
},
"items": [
"arts_13858815",
"arts_13855694",
"arts_13854812",
"arts_13853019",
"arts_13850378",
"arts_13849409",
"arts_13823134",
"arts_13818873",
"arts_13808936",
"arts_12603270",
"arts_12164405"
],
"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_prison": {
"isLoading": true
},
"arts_1526": {
"type": "terms",
"id": "arts_1526",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1526",
"found": true
},
"relationships": {},
"featImg": null,
"name": "prison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "prison Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1538,
"slug": "prison",
"isLoading": false,
"link": "/arts/tag/prison"
},
"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_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_3850": {
"type": "terms",
"id": "arts_3850",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3850",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ava duvernay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ava duvernay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3862,
"slug": "ava-duvernay",
"isLoading": false,
"link": "/arts/tag/ava-duvernay"
},
"arts_1753": {
"type": "terms",
"id": "arts_1753",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1753",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Donald Trump",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Donald Trump Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1765,
"slug": "donald-trump",
"isLoading": false,
"link": "/arts/tag/donald-trump"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_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_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_4574": {
"type": "terms",
"id": "arts_4574",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4574",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area book festival",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area book festival Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4586,
"slug": "bay-area-book-festival",
"isLoading": false,
"link": "/arts/tag/bay-area-book-festival"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_2173": {
"type": "terms",
"id": "arts_2173",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2173",
"found": true
},
"relationships": {},
"featImg": null,
"name": "keak da sneak",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "keak da sneak Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2185,
"slug": "keak-da-sneak",
"isLoading": false,
"link": "/arts/tag/keak-da-sneak"
},
"arts_1845": {
"type": "terms",
"id": "arts_1845",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1845",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Grateful Dead",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Grateful Dead Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1857,
"slug": "grateful-dead",
"isLoading": false,
"link": "/arts/tag/grateful-dead"
},
"arts_1985": {
"type": "terms",
"id": "arts_1985",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1985",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Quentin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Quentin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1997,
"slug": "san-quentin",
"isLoading": false,
"link": "/arts/tag/san-quentin"
},
"arts_5397": {
"type": "terms",
"id": "arts_5397",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5397",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5409,
"slug": "bay-area-rap",
"isLoading": false,
"link": "/arts/tag/bay-area-rap"
},
"arts_3838": {
"type": "terms",
"id": "arts_3838",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3838",
"found": true
},
"relationships": {},
"featImg": null,
"name": "features",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "features Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3850,
"slug": "features",
"isLoading": false,
"link": "/arts/tag/features"
},
"arts_5849": {
"type": "terms",
"id": "arts_5849",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5849",
"found": true
},
"relationships": {},
"featImg": null,
"name": "long",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "long Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5861,
"slug": "long",
"isLoading": false,
"link": "/arts/tag/long"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"arts_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_7535": {
"type": "terms",
"id": "arts_7535",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7535",
"found": true
},
"relationships": {},
"featImg": null,
"name": "countrymusicPBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "countrymusicPBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7547,
"slug": "countrymusicpbs",
"isLoading": false,
"link": "/arts/tag/countrymusicpbs"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_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_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_974": {
"type": "terms",
"id": "arts_974",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "974",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 992,
"slug": "rap",
"isLoading": false,
"link": "/arts/tag/rap"
}
},
"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": {}
}
}
}