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_11445937": {
"type": "attachments",
"id": "arts_11445937",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11445937",
"found": true
},
"parent": 11445936,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-e1459231351960.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/marguerite_sm3_wide-485bf58c5d9074d736c1904fe8574c4dee4b8865-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459231177,
"modified": 1459231399,
"caption": "Catherine Frot plays an opera-loving socialite in 'Marguerite.'",
"description": null,
"title": "Catherine Frot plays an opera-loving socialite in Marguerite. (Also pictured: Denis Mpunga)",
"credit": "Courtesy of Cohen Media Group",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11431304": {
"type": "attachments",
"id": "arts_11431304",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11431304",
"found": true
},
"parent": 11428904,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397-400x273.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 273
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397.jpg",
"width": 698,
"height": 477
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/land-cascade5000-edit-e1458773497397-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458773469,
"modified": 1458773656,
"caption": "A scene from a rehearsal of ‘This Land: Oakland’ by Sarah Bush Dance Project",
"description": "A scene from a rehearsal of ‘This Land: Oakland’ by Sarah Bush Dance Project",
"title": "land-cascade5000-edit",
"credit": "Photo: Lisa Harding",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11431423": {
"type": "attachments",
"id": "arts_11431423",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11431423",
"found": true
},
"parent": 11431310,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-e1458777139884-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-600x372.jpg",
"width": 600,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-e1458777139884.jpg",
"width": 600,
"height": 337
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-e1458777139884-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-e1458777139884-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-e1458777139884-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-e1458777139884-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/realistic_joneses_03_web-e1458777139884-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458776903,
"modified": 1458777253,
"caption": "Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) enjoy the splendor of the suburbs in Will Eno’s 'The Realistic Joneses.' Photo: Kevin Berne.",
"description": null,
"title": "The Realistic Joneses",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11428067": {
"type": "attachments",
"id": "arts_11428067",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11428067",
"found": true
},
"parent": 11426947,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-400x241.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 241
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-960x578.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 578
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590.jpg",
"width": 2189,
"height": 1318
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-1180x710.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 710
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-800x482.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 482
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-1920x1156.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1156
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-1180x710.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 710
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-768x462.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 462
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/New-new-c-e1458671758590-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458670266,
"modified": 1458690390,
"caption": "A scene from SF Playhouse's 'Colossol' where the young men revel in the joy of physical perfection. (L-R) Ed Berkeley, Brian Conway, Cameron Matthews, Thomas Gorrebeeck (Mike), Xander Ritchey, Brandon Hsieh. Photo: Jessica Palopoli.",
"description": null,
"title": "New, new c",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11431078": {
"type": "attachments",
"id": "arts_11431078",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11431078",
"found": true
},
"parent": 11430961,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover1920-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458766569,
"modified": 1458766589,
"caption": "Installation view of 'Vanishing Point.'",
"description": null,
"title": "Cover1920",
"credit": "Courtesy of Ratio 3, San Francisco",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11423321": {
"type": "attachments",
"id": "arts_11423321",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11423321",
"found": true
},
"parent": 11423317,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-400x286.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 286
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-960x687.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 687
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders.jpg",
"width": 4000,
"height": 2864
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-1180x845.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 845
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-800x573.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 573
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-1920x1375.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1375
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-1180x845.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 845
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-768x550.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 550
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/02-Collette-Kollewe-and-Molly-Katzman-pictured.-EE3.-Photo-by-Beau-Saunders-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458514617,
"modified": 1458514683,
"caption": "Collette Kollewe and Molly Katzman in Cid Pearlman's Economies of Effort:3 at the Felix Kulpa Gallery (Photo: Beau Saunders)",
"description": "Collette Kollewe and Molly Katzman in Cid Pearlman's Economies of Effort:3 at the Felix Kulpa Gallery (Photo: Beau Saunders)",
"title": "02 Collette Kollewe and Molly Katzman pictured. EE3. Photo by Beau Saunders",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11428652": {
"type": "attachments",
"id": "arts_11428652",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11428652",
"found": true
},
"parent": 11428541,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/CP.Alex_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458688212,
"modified": 1458688320,
"caption": "The 2014 killing of Alex Nieto by SFPD officers has provoked a musical response from San Francisco songwriter Chuck Prophet.",
"description": "The 2014 killing of Alex Nieto by SFPD officers has provoked a musical response from San Francisco songwriter Chuck Prophet.",
"title": "Chuck Prophet Alex Nieto",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11426951": {
"type": "attachments",
"id": "arts_11426951",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11426951",
"found": true
},
"parent": 11422332,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover.jpg",
"width": 1144,
"height": 643
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/YBCACover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458634081,
"modified": 1458634110,
"caption": "Oree Originol, 'Justice for Our Lives'",
"description": null,
"title": "YBCACover",
"credit": "Courtesy of YBCA",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11416358": {
"type": "attachments",
"id": "arts_11416358",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11416358",
"found": true
},
"parent": 11416241,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit.jpg",
"width": 1440,
"height": 810
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/goldengate_edit-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458289627,
"modified": 1458289688,
"caption": "(L to R) Ford Lee and Earlena Somera-Ramsey remember the past. Photo: Lisa Strong",
"description": null,
"title": "goldengate_edit",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13258458": {
"type": "attachments",
"id": "arts_13258458",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13258458",
"found": true
},
"parent": 11414781,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495154681,
"modified": 1495154735,
"caption": "Benjamin Dickinson in 'Creative Control.'",
"description": "Benjamin Dickinson in 'Creative Control.'",
"title": "Cover",
"credit": "Courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11412351": {
"type": "attachments",
"id": "arts_11412351",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11412351",
"found": true
},
"parent": 11412346,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover.jpg",
"width": 1152,
"height": 648
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458173642,
"modified": 1458173663,
"caption": "Helen Mirren stars as Col. Katherine Powell in Gavin Hood's 'Eye in the Sky.'",
"description": null,
"title": "eye-in-the-sky-eits_00534_r_rgb",
"credit": "Photo: Keith Bernstein/Bleecker Street",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11406037": {
"type": "attachments",
"id": "arts_11406037",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11406037",
"found": true
},
"parent": 11406035,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01.jpg",
"width": 800,
"height": 533
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Minnesota_01-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457989780,
"modified": 1458171448,
"caption": "The exterior of the building housing the Minnesota Street Project's 10 gallery tenants.",
"description": null,
"title": "Minnesota_01",
"credit": "Courtesy of Minnesota Street Project",
"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_11445936": {
"type": "authors",
"id": "byline_arts_11445936",
"meta": {
"override": true
},
"slug": "byline_arts_11445936",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11412346": {
"type": "authors",
"id": "byline_arts_11412346",
"meta": {
"override": true
},
"slug": "byline_arts_11412346",
"name": "Mark Jenkins",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"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"
},
"mtedford": {
"type": "authors",
"id": "187",
"meta": {
"index": "authors_1716337520",
"id": "187",
"found": true
},
"name": "Matthew Harrison Tedford",
"firstName": "Matthew Harrison",
"lastName": "Tedford",
"slug": "mtedford",
"email": "mhtedford@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003ca href=\"http://www.mhtedford.com\">Matthew Harrison Tedford\u003c/a> is a writer whose work focuses on contemporary art, film, and California history. His writing has appeared in \u003cem id=\"yui_3_17_2_1_1403197832753_7692\">Art Practical\u003c/em>, \u003cem>Daily Serving\u003c/em>, \u003cem>Glance\u003c/em> (California College of the Arts), the \u003cem>Huffington Post\u003c/em>, \u003cem>Oakland Standard\u003c/em> (Oakland Museum of California), \u003cem>Open Space\u003c/em> (SFMOMA), \u003cem>Poor Taste Magazine\u003c/em>, \u003cem>SF Weekly\u003c/em>, and \u003cem>Wilder Quarterly\u003c/em>.",
"avatar": "https://secure.gravatar.com/avatar/f6ae15e4c10b73a2ee9215e669ca0328?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Matthew Harrison Tedford | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f6ae15e4c10b73a2ee9215e669ca0328?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f6ae15e4c10b73a2ee9215e669ca0328?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mtedford"
},
"dburlison": {
"type": "authors",
"id": "3216",
"meta": {
"index": "authors_1716337520",
"id": "3216",
"found": true
},
"name": "Dani Burlison",
"firstName": "Dani",
"lastName": "Burlison",
"slug": "dburlison",
"email": "danisavestheworld@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003cb id=\"yui_3_16_0_1_1416414652499_5365\" class=\"yiv3033141065\">Dani Burlison\u003c/b> is an award-winning writer, teacher and North Bay resident with a special interest in California's fascinating subcultures. You can find her commentary on writing, feminism, social justice and life with two teen daughters on Twitter at @DaniBurlison.",
"avatar": "https://secure.gravatar.com/avatar/c0b371463a220978c947a5c4ce2da294?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Dani Burlison | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/c0b371463a220978c947a5c4ce2da294?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c0b371463a220978c947a5c4ce2da294?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/dburlison"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
},
"cescoda": {
"type": "authors",
"id": "11206",
"meta": {
"index": "authors_1716337520",
"id": "11206",
"found": true
},
"name": "Carla Escoda",
"firstName": "Carla",
"lastName": "Escoda",
"slug": "cescoda",
"email": "ballettothepeople@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>",
"avatar": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Carla Escoda | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cescoda"
}
},
"pagesReducer": {
"arts_tag_review": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"score": 9.307792
},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"title": "review",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 107
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=review",
"seeMore": false,
"paginated": true,
"page": 107
}
},
{
"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_11445936": {
"type": "posts",
"id": "arts_11445936",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11445936",
"score": null,
"sort": [
1459519241000
]
},
"guestAuthors": [],
"slug": "meet-marguerite-a-tone-deaf-opera-singer-whos-determined-to-perform",
"title": "Meet 'Marguerite,' A Tone-Deaf Opera Singer Who's Determined To Perform",
"publishDate": 1459519241,
"format": "standard",
"headTitle": "Meet ‘Marguerite,’ A Tone-Deaf Opera Singer Who’s Determined To Perform | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Imagine the worst opera singer ever. Now imagine that she’s determined to perform in public. That’s the premise of an award-winning French satire that’s based on a true story. It’s called \u003cem>Marguerite\u003c/em>, and it follows a middle-aged socialite by the same name.\u003c/p>\n\u003cp>Marguerite has very little to do. While the roaring 1920s roar elsewhere and her husband spends all his time with a mistress, Marguerite sits in her \u003cem>Downton Abbey\u003c/em>-style mansion outside Paris surrendering her soul to music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6XB3bB7ktMI\u003c/p>\n\u003cp>She adores opera, and is wealthy enough that she can sponsor musical recitals for charity with young guest singers. These are invitation-only affairs where her wealthy friends reward her charitable generosity by being charitable about the way she ends the concerts — with her own, shall we say, \u003cem>unique\u003c/em> musical stylings. Stylings with no sense of pitch, rhythm or, for that matter, talent.\u003c/p>\n\u003cp>Marguerite is surrounded by servants who applaud and friends who are polite. (Her husband usually claims car trouble kept him away.) But I hear your question: How could she not know? Wouldn’t someone tell her? Here’s how it works: After one recital, when a young singer is ushered into Marguerite’s presence to say thank you, Marguerite looks up — vulnerable and sweet — and says, “You heard me miss all my high notes.” The young performer, not wishing to hurt or be impolite, says, “No, it sounded fine.” Self-knowledge will have to wait.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There were, however, some uninvited guests. A young music critic writes in his paper that Marguerite sang as if she were trying to “exorcise an inner demon” — innocently, she takes that as praise. There’s also an anarchist poet who invites her to perform at a \u003cem>public\u003c/em> concert. Marguerite’s husband is terrified she’ll find out they’ve all been lying to her, but it’s an anarchist performance and she kind of fits right in.\u003c/p>\n\u003cp>Marguerite’s story of misplaced confidence is based loosely on that of Florence Foster Jenkins, an American laughingstock whose ghastly public renditions of some of the same music became a best-selling novelty record in the 1950s. It was called \u003cem>The Glory (????) of the Human Voice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meryl Streep will soon play Jenkins in another movie, but it’s hard to imagine anyone improving on the mix of hilarity and heartbreak this transplanted, fictional version achieves. As director Xavier Giannoli pushes his leading lady closer and closer to public humiliation, Catherine Frot’s Marguerite becomes every bit as haunting as you expect her to be laughable, walking barefoot in the rain after an evening of opera, then squawking in rehearsals like the peacocks that wander her estate’s lawn. The more ridiculous \u003cem>Marguerite\u003c/em> becomes, the more you want to keep this misguided, innocent, music-besotted creature from being hurt.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Socialite Marguerite has no idea how bad she is -- servants, friends and even other opera singers are too polite to tell her.",
"status": "publish",
"parent": 0,
"modified": 1726771212,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 503
},
"headData": {
"title": "Meet 'Marguerite,' A Tone-Deaf Opera Singer Who's Determined To Perform | KQED",
"description": "Socialite Marguerite has no idea how bad she is -- servants, friends and even other opera singers are too polite to tell her.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Meet 'Marguerite,' A Tone-Deaf Opera Singer Who's Determined To Perform",
"datePublished": "2016-04-01T07:00:41-07:00",
"dateModified": "2024-09-19T11:40:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bob Mondello",
"nprImageAgency": "Courtesy of Cohen Media Group",
"nprStoryId": "468938918",
"nprApiLink": "http://api.npr.org/query?id=468938918&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/03/11/468938918/introducing-marguerite-an-opera-loving-socialite-who-can-t-sing-for?ft=nprml&f=468938918",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 11 Mar 2016 22:27:00 -0500",
"nprStoryDate": "Fri, 11 Mar 2016 10:00:00 -0500",
"nprLastModifiedDate": "Fri, 11 Mar 2016 19:00:57 -0500",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160311_atc_meet_marguerite_a_tone-deaf_opera_singer_whos_determined_to_perform.mp3?orgId=1&topicId=4467349&d=217&p=2&story=468938918&t=progseg&e=470046399&seg=4&ft=nprml&f=468938918",
"nprAudioM3u": "http://api.npr.org/m3u/1470119990-4af504.m3u?orgId=1&topicId=4467349&d=217&p=2&story=468938918&t=progseg&e=470046399&seg=4&ft=nprml&f=468938918",
"path": "/arts/11445936/meet-marguerite-a-tone-deaf-opera-singer-whos-determined-to-perform",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/03/20160311_atc_meet_marguerite_a_tone-deaf_opera_singer_whos_determined_to_perform.mp3?orgId=1&topicId=4467349&d=217&p=2&story=468938918&t=progseg&e=470046399&seg=4&ft=nprml&f=468938918",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine the worst opera singer ever. Now imagine that she’s determined to perform in public. That’s the premise of an award-winning French satire that’s based on a true story. It’s called \u003cem>Marguerite\u003c/em>, and it follows a middle-aged socialite by the same name.\u003c/p>\n\u003cp>Marguerite has very little to do. While the roaring 1920s roar elsewhere and her husband spends all his time with a mistress, Marguerite sits in her \u003cem>Downton Abbey\u003c/em>-style mansion outside Paris surrendering her soul to music.\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/6XB3bB7ktMI'\n title='//www.youtube.com/embed/6XB3bB7ktMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She adores opera, and is wealthy enough that she can sponsor musical recitals for charity with young guest singers. These are invitation-only affairs where her wealthy friends reward her charitable generosity by being charitable about the way she ends the concerts — with her own, shall we say, \u003cem>unique\u003c/em> musical stylings. Stylings with no sense of pitch, rhythm or, for that matter, talent.\u003c/p>\n\u003cp>Marguerite is surrounded by servants who applaud and friends who are polite. (Her husband usually claims car trouble kept him away.) But I hear your question: How could she not know? Wouldn’t someone tell her? Here’s how it works: After one recital, when a young singer is ushered into Marguerite’s presence to say thank you, Marguerite looks up — vulnerable and sweet — and says, “You heard me miss all my high notes.” The young performer, not wishing to hurt or be impolite, says, “No, it sounded fine.” Self-knowledge will have to wait.\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>There were, however, some uninvited guests. A young music critic writes in his paper that Marguerite sang as if she were trying to “exorcise an inner demon” — innocently, she takes that as praise. There’s also an anarchist poet who invites her to perform at a \u003cem>public\u003c/em> concert. Marguerite’s husband is terrified she’ll find out they’ve all been lying to her, but it’s an anarchist performance and she kind of fits right in.\u003c/p>\n\u003cp>Marguerite’s story of misplaced confidence is based loosely on that of Florence Foster Jenkins, an American laughingstock whose ghastly public renditions of some of the same music became a best-selling novelty record in the 1950s. It was called \u003cem>The Glory (????) of the Human Voice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meryl Streep will soon play Jenkins in another movie, but it’s hard to imagine anyone improving on the mix of hilarity and heartbreak this transplanted, fictional version achieves. As director Xavier Giannoli pushes his leading lady closer and closer to public humiliation, Catherine Frot’s Marguerite becomes every bit as haunting as you expect her to be laughable, walking barefoot in the rain after an evening of opera, then squawking in rehearsals like the peacocks that wander her estate’s lawn. The more ridiculous \u003cem>Marguerite\u003c/em> becomes, the more you want to keep this misguided, innocent, music-besotted creature from being hurt.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11445936/meet-marguerite-a-tone-deaf-opera-singer-whos-determined-to-perform",
"authors": [
"byline_arts_11445936"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11445937",
"label": "arts_137"
},
"arts_11428904": {
"type": "posts",
"id": "arts_11428904",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11428904",
"score": null,
"sort": [
1458932400000
]
},
"guestAuthors": [],
"slug": "sarah-bush-dance-project-celebrates-famous-oakland-women",
"title": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece",
"publishDate": 1458932400,
"format": "standard",
"headTitle": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The weather gods shed tears just as performers Nina Wu, Chelsea Hill and Nicole Casado of the \u003ca href=\"http://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> began to ascend the massive stone staircase at Oakland’s Woodminster Cascade last Sunday afternoon, Mar. 20. Grey skies did nothing to dim the grandeur of the surrounding redwoods, Monterey cypress, olive and eucalyptus stands. Clad in starkly chic blouses and voluminous layered skirts in black and white – attire one might think wholly unsuited to a wilderness expedition – these graceful, intrepid young women scrambled and leapt and rolled and grappled their way up the 242 granite steps, dodging hypothetical bullets and slaying imaginary dragons en route.\u003c/p>\n\u003cp>The musings of three pioneering Bay Area women artists — Gertrude Stein, Isadora Duncan, and Ina Coolbrith — whose lives intersected in the late 19th century, punctuate Sarah Bush’s “Reach,” the second in a triptych of springtime outdoor performances celebrating the wilds of Oakland,\u003cem> \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The first part was performed a month ago. Dubbed “Recreate,” it featured a quintet of ninjas in hoodies and sweats who seized the Lake Merritt waterfront, under the stern gaze of the Greco-Deco Alameda County Court House. Majestic vocalist Gina Breedlove held sway, delivering an urban jungle scat. In a witty moment, the dancers swung their legs over the waterfront railing and hung upside down, the sparkling lagoon as their backdrop, while Breedlove intoned, “We are learning to breathe underwater.”\u003c/p>\n\u003cp>\u003cem>Watch a short video excerpt of “Recreate”, performed at Lake Merritt on Sunday, Feb. 21:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sarah Bush Dance Project - Lake Merritt Feb 21st - 2016\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/INN2Nx1UlB0?list=PLOtgZHVTLKeNfnXEZpc_mqXb-qmDC-kNd\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For this second site-specific work, the choice of Woodminster Cascade on the edge of Joaquin Miller Park provided a bracing contrast to the concrete, metal and water of downtown Oakland. The park’s history led Bush to identify Coolbrith, California’s first poet laureate and the first poet laureate of any American state, as an inspiration for her dance piece. Coolbrith, a highly influential figure in the San Francisco literary world, was a close friend and rumored lover of eccentric poet Joaquin Miller. Miller bought the 500 acres that eventually became Joaquin Miller Park in the 1880s. He extensively planted the land and made his home there.\u003c/p>\n\u003cp>Coolbrith was a generous mentor to many Bay Area writers and artists, including the dancer Isadora Duncan, the second woman to inspire Bush’s piece. For her third inspiration, Bush picked Stein, who grew up in Oakland. Stein wrote an appreciation of Duncan that began, “Even if one was one she might be like some other one.” As it canters along, Stein’s tribute appears to simulate the hypnotic rhythms, the antinomy of Duncan’s dancing, which radiated both discipline and freedom.\u003c/p>\n\u003cfigure id=\"attachment_11433243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433243\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg\" alt='A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, \"Reach\", at Woodminster Cascade, Joaquin Miller Park, Oakland' width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, “Reach”, at Woodminster Cascade, Joaquin Miller Park, Oakland \u003ccite>(Photo: Lisa Harding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, too, does Bush’s elegant, muscular choreography in “Reach,” danced with controlled abandon. The three dancers swept up the staircase, their movements writ large against the massive architecture and scenery even as their figures grew smaller. Those miraculous skirts billowed like sails on the clipper ships that plied the trade routes during the California Gold Rush. The dancers hoisted each other on their backs when the going got rough, and scaled the mighty stone parapets, arching into backbends, fearlessly lifting their faces to the rain. The silky strains of Zhalisa Clarke’s violin, together with Anita Lofton’s plangent guitar and smoky voice, propelled them on their journey between the readings from Stein, Coolbrith and Duncan.\u003c/p>\n\u003cp>At the close of the piece, the dancers stood poised on a rampart, tossing pieces of notepaper to the wind. Were they pages of autobiography? Love letters? Poems? Rulebooks?\u003c/p>\n\u003cp>The third and final episode of \u003cem>This Land: Oakland\u003c/em> takes place at the Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. “Recall” features musician and activist Melanie DeMore, who will take the dancers and audience through a Gullah stick pounding ritual, combined with spirituals and songs of protest and peace. As with the other two works in the series, Bush hopes to activate the surroundings in a memorable way. “We will, as a community, turn the whole place into a living, breathing drum,” Bush says.\u003c/p>\n\u003cp>\u003cstrong>To find out more about the third installment of\u003cem> This Land: Oakland, \u003c/em>which takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17, please click \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "The second part of Sarah Bush Dance Project's compelling 'This Land: Oakland' looks at the connections between 3 famous women with Bay Area ties",
"status": "publish",
"parent": 0,
"modified": 1726771047,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 774
},
"headData": {
"title": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece | KQED",
"description": "The second part of Sarah Bush Dance Project's compelling 'This Land: Oakland' looks at the connections between 3 famous women with Bay Area ties",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece",
"datePublished": "2016-03-25T12:00:00-07:00",
"dateModified": "2024-09-19T11:37:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11428904/sarah-bush-dance-project-celebrates-famous-oakland-women",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weather gods shed tears just as performers Nina Wu, Chelsea Hill and Nicole Casado of the \u003ca href=\"http://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> began to ascend the massive stone staircase at Oakland’s Woodminster Cascade last Sunday afternoon, Mar. 20. Grey skies did nothing to dim the grandeur of the surrounding redwoods, Monterey cypress, olive and eucalyptus stands. Clad in starkly chic blouses and voluminous layered skirts in black and white – attire one might think wholly unsuited to a wilderness expedition – these graceful, intrepid young women scrambled and leapt and rolled and grappled their way up the 242 granite steps, dodging hypothetical bullets and slaying imaginary dragons en route.\u003c/p>\n\u003cp>The musings of three pioneering Bay Area women artists — Gertrude Stein, Isadora Duncan, and Ina Coolbrith — whose lives intersected in the late 19th century, punctuate Sarah Bush’s “Reach,” the second in a triptych of springtime outdoor performances celebrating the wilds of Oakland,\u003cem> \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The first part was performed a month ago. Dubbed “Recreate,” it featured a quintet of ninjas in hoodies and sweats who seized the Lake Merritt waterfront, under the stern gaze of the Greco-Deco Alameda County Court House. Majestic vocalist Gina Breedlove held sway, delivering an urban jungle scat. In a witty moment, the dancers swung their legs over the waterfront railing and hung upside down, the sparkling lagoon as their backdrop, while Breedlove intoned, “We are learning to breathe underwater.”\u003c/p>\n\u003cp>\u003cem>Watch a short video excerpt of “Recreate”, performed at Lake Merritt on Sunday, Feb. 21:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sarah Bush Dance Project - Lake Merritt Feb 21st - 2016\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/INN2Nx1UlB0?list=PLOtgZHVTLKeNfnXEZpc_mqXb-qmDC-kNd\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For this second site-specific work, the choice of Woodminster Cascade on the edge of Joaquin Miller Park provided a bracing contrast to the concrete, metal and water of downtown Oakland. The park’s history led Bush to identify Coolbrith, California’s first poet laureate and the first poet laureate of any American state, as an inspiration for her dance piece. Coolbrith, a highly influential figure in the San Francisco literary world, was a close friend and rumored lover of eccentric poet Joaquin Miller. Miller bought the 500 acres that eventually became Joaquin Miller Park in the 1880s. He extensively planted the land and made his home there.\u003c/p>\n\u003cp>Coolbrith was a generous mentor to many Bay Area writers and artists, including the dancer Isadora Duncan, the second woman to inspire Bush’s piece. For her third inspiration, Bush picked Stein, who grew up in Oakland. Stein wrote an appreciation of Duncan that began, “Even if one was one she might be like some other one.” As it canters along, Stein’s tribute appears to simulate the hypnotic rhythms, the antinomy of Duncan’s dancing, which radiated both discipline and freedom.\u003c/p>\n\u003cfigure id=\"attachment_11433243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433243\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg\" alt='A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, \"Reach\", at Woodminster Cascade, Joaquin Miller Park, Oakland' width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, “Reach”, at Woodminster Cascade, Joaquin Miller Park, Oakland \u003ccite>(Photo: Lisa Harding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, too, does Bush’s elegant, muscular choreography in “Reach,” danced with controlled abandon. The three dancers swept up the staircase, their movements writ large against the massive architecture and scenery even as their figures grew smaller. Those miraculous skirts billowed like sails on the clipper ships that plied the trade routes during the California Gold Rush. The dancers hoisted each other on their backs when the going got rough, and scaled the mighty stone parapets, arching into backbends, fearlessly lifting their faces to the rain. The silky strains of Zhalisa Clarke’s violin, together with Anita Lofton’s plangent guitar and smoky voice, propelled them on their journey between the readings from Stein, Coolbrith and Duncan.\u003c/p>\n\u003cp>At the close of the piece, the dancers stood poised on a rampart, tossing pieces of notepaper to the wind. Were they pages of autobiography? Love letters? Poems? Rulebooks?\u003c/p>\n\u003cp>The third and final episode of \u003cem>This Land: Oakland\u003c/em> takes place at the Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. “Recall” features musician and activist Melanie DeMore, who will take the dancers and audience through a Gullah stick pounding ritual, combined with spirituals and songs of protest and peace. As with the other two works in the series, Bush hopes to activate the surroundings in a memorable way. “We will, as a community, turn the whole place into a living, breathing drum,” Bush says.\u003c/p>\n\u003cp>\u003cstrong>To find out more about the third installment of\u003cem> This Land: Oakland, \u003c/em>which takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17, please click \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11428904/sarah-bush-dance-project-celebrates-famous-oakland-women",
"authors": [
"11206"
],
"categories": [
"arts_966",
"arts_235"
],
"tags": [
"arts_1310",
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11431304",
"label": "arts"
},
"arts_11431310": {
"type": "posts",
"id": "arts_11431310",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11431310",
"score": null,
"sort": [
1458918048000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1458918048,
"format": "standard",
"title": "ACT's 'The Realistic Joneses' is Realistic, but not Realistic Enough",
"headTitle": "ACT’s ‘The Realistic Joneses’ is Realistic, but not Realistic Enough | KQED",
"content": "\u003cp>Andrew Boyce’s set for the American Conservatory Theater’s (ACT) production of Will Eno’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">The Realistic Joneses\u003c/a>\u003c/em> will make you yearn for suburbia — the quiet of the nights, the way a backyard can seem to be a forest in the dark. It conveys an appreciation for living in the moment that captures the best aspects of Eno’s play and work.\u003c/p>\n\u003cp>Eno has ascended from cult appreciation to major star in recent years. The dramatist has a deft touch with dialogue and possesses what critics and audiences often describe as a quirky sensibility. A light haze of absurdist humor hangs over all Eno’s plays, no matter how serious the subject matter. \u003cem>Tragedy: A Tragedy\u003c/em> is about the end of the world; \u003cem>The Flu Season\u003c/em>, insanity and suicide; \u003cem>The Open House\u003c/em>, the gradual disappearance of a family. And \u003cem>The Realistic Joneses\u003c/em> is about dying. Slowly.\u003c/p>\n\u003cp>You certainly feel the grandeur of Eno’s designs and aspirations in this drama. His characters’ concerns are everyday ones, but his viewpoint is cosmic. And that tension is what makes his work fascinating, if also somewhat unrealized and jerry-rigged.\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in the dark and under the stars where we find a middle-aged couple, Bob and Jennifer Jones, sitting outdoors on their back patio, talking about nothing in particular. Then the Joneses’ trash cans tip over and the play tenses. They think it might be a skunk or raccoon, but we know better: it’s the neighbors, who also go by the name of Jones. Only these Joneses — John and Pony — are younger and a bit loopier. “We’re Joneses, too,” Pony enthusiastically exclaims in actress Allison Jean White’s hippy-chick twang.\u003c/p>\n\u003cfigure id=\"attachment_11431425\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg\" alt=\"(L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A meeting of Joneses: (L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>What follows is a lovely scene of two couples with little in common besides a name, trying, to the best of their abilities, to make small talk. And because they don’t know each other, they’re forced into a disarming intimacy. John and Pony Jones both have to pee and their forays into the older Joneses’ bathrooms have the feel of a subtle and unnecessary violation. Eno is tricky in how he manages entrances and exits, and so the brief absence of one set of Joneses can trigger another a confession from the other. This is how we find out that Bob is sick with a degenerative disease.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in a world of human concerns. All the Joneses want is to live as if they will live forever, to know that the next day will come as the one before it. And yet in various ways they all know that disaster is looming and that the world is closing in on them. It is a truly striking and promising first scene.\u003c/p>\n\u003cp>But for all of Eno’s gifts, he can’t see his way past this smart set-up. His vision is aligned with the universe — massive, mathematical, symmetrical, a never-ending parade of births and deaths. That’s fine; Sophocles felt the same way. But it feels as if his characters have adopted his beliefs, that they are a product of Eno’s philosophical system, rather than having and acting on their own sense of the world. In fact, in \u003cem>The Realistic Joneses\u003c/em> there is no sense of the world other than Eno’s machinations: we are stuck in a pattern, like the stars above us, and the play loses the force of any kind of conflict, anguish, and emotional development.\u003c/p>\n\u003cp>You can feel the problem in the very architecture of the play. It is not just Bob Jones who is dying, but the younger John Jones, too. And in the play’s only true irony, John is in a much more advanced stage of “Harriman Leavey Syndrome” — a made-up disease whose most pronounced symptom (when coupled with the right medicine) is a quirky sense of humor and a delightful loss of social propriety. These, rather aptly, are also the most recognizable qualities of Eno’s work. It’s as if he’s unconsciously created a disease that describes what’s wrong with his plays.\u003c/p>\n\u003cp>For most of the play, John makes little sense. And the same thing happens to Bob at the end, when he’s reached John’s stage of stand up comic dementia. I know he’s strung out on drugs, but I haven’t seen one drug ever make anyone that delightful. You can always see through the cracks, and they do not lead to an ordered universe. Eno does make gestures towards real pain. But the dominant mode here is one of deft, light entertainment. It feels like a cheat of what we know of the world and of the consequences Eno has set up but refused to embrace.\u003c/p>\n\u003cfigure id=\"attachment_11431555\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431555\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) try to have a conversation about Bob’s deteriorating health in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) wish for a return to everyday troubles. Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>There have been a lot of slow deaths in the theater — from 19th century stalwarts such as Dumas, fils’ \u003cem>The Lady of the Camellias\u003c/em> and Puccini’s \u003cem>La Bohème\u003c/em> to scores of 20th century meditations on cancer and AIDS. They run the generic gamut, from melodrama to lacerating satires. But none of them reduce the sickness itself to breezy, comic shtick. Rather, there’s a belief in the singularity of the soul and the body that holds it. We might be nothing more than a series of repetitions, one Jones after another, as Eno suggests. But each of us is particular and we struggle in our own particular ways. To deny the universe — the indifferent stars above us — is much more thrilling than the wry commentary and smart jokes of Eno’s incomplete realism.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Realistic Jones\u003c/em> plays through Sunday, Apr. 3 at ACT’s Geary Theater in San Francisco. For tickets and information, please go to http://www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1096,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705044764,
"excerpt": "Will Eno's new drama about four people who all share the same last name features wry commentary and smart jokes but somehow feels incomplete.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Will Eno's new drama about four people who all share the same last name features wry commentary and smart jokes but somehow feels incomplete.",
"title": "ACT's 'The Realistic Joneses' is Realistic, but not Realistic Enough | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "ACT's 'The Realistic Joneses' is Realistic, but not Realistic Enough",
"datePublished": "2016-03-25T08:00:48-07:00",
"dateModified": "2024-01-11T23:32:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "acts-the-realistic-joneses-is-realistic-but-not-realistic-enough",
"status": "publish",
"sticky": false,
"path": "/arts/11431310/acts-the-realistic-joneses-is-realistic-but-not-realistic-enough",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Boyce’s set for the American Conservatory Theater’s (ACT) production of Will Eno’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">The Realistic Joneses\u003c/a>\u003c/em> will make you yearn for suburbia — the quiet of the nights, the way a backyard can seem to be a forest in the dark. It conveys an appreciation for living in the moment that captures the best aspects of Eno’s play and work.\u003c/p>\n\u003cp>Eno has ascended from cult appreciation to major star in recent years. The dramatist has a deft touch with dialogue and possesses what critics and audiences often describe as a quirky sensibility. A light haze of absurdist humor hangs over all Eno’s plays, no matter how serious the subject matter. \u003cem>Tragedy: A Tragedy\u003c/em> is about the end of the world; \u003cem>The Flu Season\u003c/em>, insanity and suicide; \u003cem>The Open House\u003c/em>, the gradual disappearance of a family. And \u003cem>The Realistic Joneses\u003c/em> is about dying. Slowly.\u003c/p>\n\u003cp>You certainly feel the grandeur of Eno’s designs and aspirations in this drama. His characters’ concerns are everyday ones, but his viewpoint is cosmic. And that tension is what makes his work fascinating, if also somewhat unrealized and jerry-rigged.\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in the dark and under the stars where we find a middle-aged couple, Bob and Jennifer Jones, sitting outdoors on their back patio, talking about nothing in particular. Then the Joneses’ trash cans tip over and the play tenses. They think it might be a skunk or raccoon, but we know better: it’s the neighbors, who also go by the name of Jones. Only these Joneses — John and Pony — are younger and a bit loopier. “We’re Joneses, too,” Pony enthusiastically exclaims in actress Allison Jean White’s hippy-chick twang.\u003c/p>\n\u003cfigure id=\"attachment_11431425\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg\" alt=\"(L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A meeting of Joneses: (L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>What follows is a lovely scene of two couples with little in common besides a name, trying, to the best of their abilities, to make small talk. And because they don’t know each other, they’re forced into a disarming intimacy. John and Pony Jones both have to pee and their forays into the older Joneses’ bathrooms have the feel of a subtle and unnecessary violation. Eno is tricky in how he manages entrances and exits, and so the brief absence of one set of Joneses can trigger another a confession from the other. This is how we find out that Bob is sick with a degenerative disease.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in a world of human concerns. All the Joneses want is to live as if they will live forever, to know that the next day will come as the one before it. And yet in various ways they all know that disaster is looming and that the world is closing in on them. It is a truly striking and promising first scene.\u003c/p>\n\u003cp>But for all of Eno’s gifts, he can’t see his way past this smart set-up. His vision is aligned with the universe — massive, mathematical, symmetrical, a never-ending parade of births and deaths. That’s fine; Sophocles felt the same way. But it feels as if his characters have adopted his beliefs, that they are a product of Eno’s philosophical system, rather than having and acting on their own sense of the world. In fact, in \u003cem>The Realistic Joneses\u003c/em> there is no sense of the world other than Eno’s machinations: we are stuck in a pattern, like the stars above us, and the play loses the force of any kind of conflict, anguish, and emotional development.\u003c/p>\n\u003cp>You can feel the problem in the very architecture of the play. It is not just Bob Jones who is dying, but the younger John Jones, too. And in the play’s only true irony, John is in a much more advanced stage of “Harriman Leavey Syndrome” — a made-up disease whose most pronounced symptom (when coupled with the right medicine) is a quirky sense of humor and a delightful loss of social propriety. These, rather aptly, are also the most recognizable qualities of Eno’s work. It’s as if he’s unconsciously created a disease that describes what’s wrong with his plays.\u003c/p>\n\u003cp>For most of the play, John makes little sense. And the same thing happens to Bob at the end, when he’s reached John’s stage of stand up comic dementia. I know he’s strung out on drugs, but I haven’t seen one drug ever make anyone that delightful. You can always see through the cracks, and they do not lead to an ordered universe. Eno does make gestures towards real pain. But the dominant mode here is one of deft, light entertainment. It feels like a cheat of what we know of the world and of the consequences Eno has set up but refused to embrace.\u003c/p>\n\u003cfigure id=\"attachment_11431555\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431555\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) try to have a conversation about Bob’s deteriorating health in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) wish for a return to everyday troubles. Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>There have been a lot of slow deaths in the theater — from 19th century stalwarts such as Dumas, fils’ \u003cem>The Lady of the Camellias\u003c/em> and Puccini’s \u003cem>La Bohème\u003c/em> to scores of 20th century meditations on cancer and AIDS. They run the generic gamut, from melodrama to lacerating satires. But none of them reduce the sickness itself to breezy, comic shtick. Rather, there’s a belief in the singularity of the soul and the body that holds it. We might be nothing more than a series of repetitions, one Jones after another, as Eno suggests. But each of us is particular and we struggle in our own particular ways. To deny the universe — the indifferent stars above us — is much more thrilling than the wry commentary and smart jokes of Eno’s incomplete realism.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Realistic Jones\u003c/em> plays through Sunday, Apr. 3 at ACT’s Geary Theater in San Francisco. For tickets and information, please go to http://www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11431310/acts-the-realistic-joneses-is-realistic-but-not-realistic-enough",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11431423",
"label": "arts_140"
},
"arts_11426947": {
"type": "posts",
"id": "arts_11426947",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11426947",
"score": null,
"sort": [
1458777628000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1458777628,
"format": "standard",
"title": "SF Playhouse's Winning Football Drama 'Colossal' Scores a Touchdown",
"headTitle": "SF Playhouse’s Winning Football Drama ‘Colossal’ Scores a Touchdown | KQED",
"content": "\u003cp>SF Playhouse’s production of Andrew Hinderaker’s \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/colossal/\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>takes the sports melodrama into aesthetic and philosophical territory that one never would have imagined possible. And like most truly innovative art, you forgive its weaknesses and embrace its strengths. When the soul is right, every sin is minor.\u003c/p>\n\u003cp>\u003cem>Colossal\u003c/em> is a stew of melodramatic clichés — Oedipal conflict, devastating injury, concerned therapist, gay romance (secret, tortured, and ecstatic), drum lines, militaristic coach, homoerotic locker room, homophobic teammates, and modern dance as spiritual practice. None of it should work, and yet like Greek tragedy — of which this play is a peculiarly American variant — Hinderaker spins the hackneyed tropes in a way that makes the well-worn seem new again.\u003c/p>\n\u003cfigure id=\"attachment_11428187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11428187 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg\" alt=\"theawfulscene\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Maier (Coach) comforts Mike (Thomas Gorrebeeck). Photo: Jessica Palopoli.\u003c/figcaption>\u003c/figure>\n\u003cp>The story is simple: Mike — talented, gay, and performing in his father’s modern dance troupe, becomes a first class Division 1 Football player. He’s bona fide NFL material. Mike loves football, especially for the bravado, the camaraderie, and the sheer brutality of taking a hit. When he suffers a spinal chord injury in his senior year, his world falls apart. Hinderaker gives us two Mikes, played by two actors: the injured one of the present (Jason Stojanovski), and the brash athlete he once was (Thomas Gorrebeeck). When Mike and Mike go at it the effect is electric, and the acting between Stojanovski and Gorrebeeck is savage.\u003c/p>\n\u003cp>It is this formal invention that makes \u003cem>Colossal\u003c/em> soar. Hinderaker, with a great deal of help from Jon Tracy’s sharp direction, creates a context from which melodrama can slip into myth. As we enter the theater, a drum line pounds away in war-like preparation for what we’re about to see and a scoreboard counts down to curtain time. A black scrim at the back of the stage creates a sense of endless depth as the drama unfolds, making the action appear to take place both in time and out of it. Also, the actors are plausible athletes, so watching them work out feels as if you just happened by a practice, instead of going to the theater.\u003c/p>\n\u003cp>It’s a pleasure to see a piece of theater so acutely aware of the dynamics of perception. Too many playwrights take the relationship between play and audience for granted. Hinderaker establishes a context for everything that happens and so even the most pedestrian scenes take on a mythic importance. A weight training challenge has the aura of a boisterous game among the gods. Sex isn’t desire, but instead a tempting of fate. A father’s disapproval comes in the form of a dream ballet, performed as a halftime show in the middle of the play and the ballgame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even at the beginning of the show, Hinderaker unmoors us in a world of stark and extreme stakes. As a rather realistic football play (“play” in the sense of a football game, as opposed to “play” in the sense of theater) unfolds before us in a kind of stop-motion ballet, the wheelchair-bound Mike slips between the actors, carefully observing each moment. It’s the most simple and common of maneuvers, a running back getting tackled. Mike clicks a remote and the players freeze in a mosaic of chaos, bodies seemingly flying in the air. Beautifully executed by stunt choreographer Dave Maier, the scene is both realistic and a fever dream. You marvel at the actors’ abilities to fast-forward, rewind, and pause their bodies.\u003c/p>\n\u003cp>By seeing what Mike sees, and presumably feeling what he feels, we begin the process of understanding the spectacle in front of us. Before we’ve had a chance to even register our feelings, we are in a deeply empathetic relationship with Mike as both our guide and the lost soul we want to heal. But we’re also entering the psychic landscape of football: \u003cem>Colossal\u003c/em> is never really a critique of that sport’s many brutalities, but rather an investigation into what it means to have lived in a state of glory.\u003c/p>\n\u003cp>SF Playhouse is the one of the few theaters in the Bay Area that has a mission that actually shows up on stage. Artistic director Bill English’s commitment to empathy as a guiding philosophical and aesthetic force is both admirable and sort of ridiculous. Why would you need to promote empathy when no one is actually against it? And yet by living that mission, fascinating things happen. SF Playhouse doesn’t just ask us to identify with a maimed hero, but also moves us to understand that his maiming is the result of a brutal and amazing culture. And it is the even-handedness of that insight — one of empathy’s traits — that makes this play and production so thrilling.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Colossal\u003c/em> runs through Saturday, Apr. 30 at SF Playhouse in San Francisco. For tickets and information go to www.sfplayhouse.org.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 878,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705044777,
"excerpt": "Playwright Andrew Hinderaker takes the sports melodrama into aesthetic and philosophical territory that one never would have imagined possible. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Playwright Andrew Hinderaker takes the sports melodrama into aesthetic and philosophical territory that one never would have imagined possible. ",
"title": "SF Playhouse's Winning Football Drama 'Colossal' Scores a Touchdown | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Playhouse's Winning Football Drama 'Colossal' Scores a Touchdown",
"datePublished": "2016-03-23T17:00:28-07:00",
"dateModified": "2024-01-11T23:32:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sf-playhouses-winning-football-drama-colossal-scores-a-touchdown",
"status": "publish",
"sticky": false,
"path": "/arts/11426947/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SF Playhouse’s production of Andrew Hinderaker’s \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/colossal/\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>takes the sports melodrama into aesthetic and philosophical territory that one never would have imagined possible. And like most truly innovative art, you forgive its weaknesses and embrace its strengths. When the soul is right, every sin is minor.\u003c/p>\n\u003cp>\u003cem>Colossal\u003c/em> is a stew of melodramatic clichés — Oedipal conflict, devastating injury, concerned therapist, gay romance (secret, tortured, and ecstatic), drum lines, militaristic coach, homoerotic locker room, homophobic teammates, and modern dance as spiritual practice. None of it should work, and yet like Greek tragedy — of which this play is a peculiarly American variant — Hinderaker spins the hackneyed tropes in a way that makes the well-worn seem new again.\u003c/p>\n\u003cfigure id=\"attachment_11428187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11428187 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg\" alt=\"theawfulscene\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Maier (Coach) comforts Mike (Thomas Gorrebeeck). Photo: Jessica Palopoli.\u003c/figcaption>\u003c/figure>\n\u003cp>The story is simple: Mike — talented, gay, and performing in his father’s modern dance troupe, becomes a first class Division 1 Football player. He’s bona fide NFL material. Mike loves football, especially for the bravado, the camaraderie, and the sheer brutality of taking a hit. When he suffers a spinal chord injury in his senior year, his world falls apart. Hinderaker gives us two Mikes, played by two actors: the injured one of the present (Jason Stojanovski), and the brash athlete he once was (Thomas Gorrebeeck). When Mike and Mike go at it the effect is electric, and the acting between Stojanovski and Gorrebeeck is savage.\u003c/p>\n\u003cp>It is this formal invention that makes \u003cem>Colossal\u003c/em> soar. Hinderaker, with a great deal of help from Jon Tracy’s sharp direction, creates a context from which melodrama can slip into myth. As we enter the theater, a drum line pounds away in war-like preparation for what we’re about to see and a scoreboard counts down to curtain time. A black scrim at the back of the stage creates a sense of endless depth as the drama unfolds, making the action appear to take place both in time and out of it. Also, the actors are plausible athletes, so watching them work out feels as if you just happened by a practice, instead of going to the theater.\u003c/p>\n\u003cp>It’s a pleasure to see a piece of theater so acutely aware of the dynamics of perception. Too many playwrights take the relationship between play and audience for granted. Hinderaker establishes a context for everything that happens and so even the most pedestrian scenes take on a mythic importance. A weight training challenge has the aura of a boisterous game among the gods. Sex isn’t desire, but instead a tempting of fate. A father’s disapproval comes in the form of a dream ballet, performed as a halftime show in the middle of the play and the ballgame.\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>Even at the beginning of the show, Hinderaker unmoors us in a world of stark and extreme stakes. As a rather realistic football play (“play” in the sense of a football game, as opposed to “play” in the sense of theater) unfolds before us in a kind of stop-motion ballet, the wheelchair-bound Mike slips between the actors, carefully observing each moment. It’s the most simple and common of maneuvers, a running back getting tackled. Mike clicks a remote and the players freeze in a mosaic of chaos, bodies seemingly flying in the air. Beautifully executed by stunt choreographer Dave Maier, the scene is both realistic and a fever dream. You marvel at the actors’ abilities to fast-forward, rewind, and pause their bodies.\u003c/p>\n\u003cp>By seeing what Mike sees, and presumably feeling what he feels, we begin the process of understanding the spectacle in front of us. Before we’ve had a chance to even register our feelings, we are in a deeply empathetic relationship with Mike as both our guide and the lost soul we want to heal. But we’re also entering the psychic landscape of football: \u003cem>Colossal\u003c/em> is never really a critique of that sport’s many brutalities, but rather an investigation into what it means to have lived in a state of glory.\u003c/p>\n\u003cp>SF Playhouse is the one of the few theaters in the Bay Area that has a mission that actually shows up on stage. Artistic director Bill English’s commitment to empathy as a guiding philosophical and aesthetic force is both admirable and sort of ridiculous. Why would you need to promote empathy when no one is actually against it? And yet by living that mission, fascinating things happen. SF Playhouse doesn’t just ask us to identify with a maimed hero, but also moves us to understand that his maiming is the result of a brutal and amazing culture. And it is the even-handedness of that insight — one of empathy’s traits — that makes this play and production so thrilling.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Colossal\u003c/em> runs through Saturday, Apr. 30 at SF Playhouse in San Francisco. For tickets and information go to www.sfplayhouse.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11426947/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11428067",
"label": "arts_140"
},
"arts_11430961": {
"type": "posts",
"id": "arts_11430961",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11430961",
"score": null,
"sort": [
1458770433000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1458770433,
"format": "standard",
"title": "Minimal Lines Fill Maximum Space in Ratio 3’s ‘Vanishing Point’",
"headTitle": "Minimal Lines Fill Maximum Space in Ratio 3’s ‘Vanishing Point’ | KQED",
"content": "\u003cp>Behind the matte black front doors facing Mission Street, Ratio 3’s gallery space is improbably white and airy. Every single time I visit, I become further convinced the gallery’s interior is larger than its exterior. Those high ceilings and expansive floor plan can’t possibly exist in the space between a Foot Locker and “L. Quan Check Cashing and Healing Arts Centre.” \u003c/p>\n\u003cp>The television show \u003ci>Doctor Who\u003c/i> explains this effect as “\u003ca href=\"http://tardis.wikia.com/wiki/Dimensional_transcendentalism\" target=\"_blank\" rel=\"noopener\">dimensional transcendentalism\u003c/a>.” Your mother might helpfully explain that black is always slimming. Optical illusions and time travel aside, the spaciousness of Ratio 3’s interior is only enhanced by the current exhibition: an installation of work by Miriam Böhm, Felix Gonzalez-Torres, Sol LeWitt, Mitzi Pederson and Fred Sandback.\u003c/p>\n\u003cfigure id=\"attachment_11431081\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/FGTSand1200.jpg\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Felix Gonzalez-Torres, ‘”Untitled” (Portrait of Dad)’ and Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction).’ \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Vanishing Point\u003c/i> is a group show of just seven pieces. Presenting giants of minimalist and conceptual art alongside gallery artists Böhm and Pederson, Ratio 3 offers up an impressive art historical lineage for their contemporary artists. Should Bohm and Pederson be positioned as inheritors of this legacy? Without heavy-handed didacticism, \u003ci>Vanishing Point\u003c/i> makes a fairly persuasive argument for yes. \u003c/p>\n\u003cp>Works by LeWitt, Gonzalez-Torres and Sandback share more than just walls within major museum collections. Their work is prescriptive, their “dimensions variable,” their installations interpretations of often enigmatic rules. Just inside the gallery’s front doors, LeWitt’s subtle \u003ci>Wall Drawing #383\u003c/i>, executed under the supervision of the Sol LeWitt Estate, extends floor to ceiling. Precise vertical, horizontal and diagonal lines combine to create the image of a cube, establishing an exhibition-wide trend of simple lines introducing dimensionality and depth. \u003c/p>\n\u003cfigure id=\"attachment_11431084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg\" alt=\"Fred Sandback, 'Untitled (Sculptural Study, Cornered Construction),' 1984/2013.\" width=\"1200\" height=\"946\" class=\"size-full wp-image-11431084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-400x315.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-761x600.jpg 761w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-1180x930.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-960x757.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction),’ 1984/2013. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LeWitt’s ideograph of a cube takes shape, albeit flatly, in Gonzalez-Torres’ \u003ci>“Untitled” (Portrait of Dad)\u003c/i>, a rectangle of individually wrapped candies on the main gallery floor. The arrangement of ghostly, shiny sweets might be the dimensions of a twin-sized bed, or the size of a burial plot. Of the three instruction-based works on view in \u003ci>Vanishing Point\u003c/i>, just \u003ci>“Untitled”\u003c/i> was determined by Ratio 3’s staff alone; LeWitt and Sandback’s estates dispatched emissaries to install their respective works.\u003c/p>\n\u003cfigure id=\"attachment_11431082\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Pederson640.jpg\" alt=\"Mitzi Pederson, 'Untitled,' 2016.\" width=\"426\" height=\"640\" class=\"size-full wp-image-11431082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-399x600.jpg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Mitzi Pederson, ‘Untitled,’ 2016. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Böhm and Pederson’s pieces follow any rules, their logic is interior. Flanking Gonzalez-Torres’ candy spill are Pederson’s two rough-edged sculptures, made from thin arcs of plywood tightly bound with thread. Bowing out from the walls, these untitled works are the only pieces in the show to curve, or in any way depart from the straight lines, edges and precise corners that otherwise dominate \u003ci>Vanishing Point\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sandback’s \u003ci>Untitled (Sculptural Study, Cornered Construction)\u003c/i> is a line drawing in the air, rendered in taut strings of red and black yarn. In the afternoon, light from the gallery’s two high windows (another architectural facet completely invisible from Mission Street) spreads across the north wall and spills down to the concrete floor, casting linear shadows as it hits Sandback’s work. The sculpture, created in 1984 but first realized in 2013, ten years after the artist’s death, resembles the strings of a giant musical instrument. After freely picking up a Gonzalez-Torres candy (or two), it is unbearably tempting to pluck a string.\u003c/p>\n\u003cfigure id=\"attachment_11431077\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg\" alt=\"Miriam Böhm, 'Detail I,' 2015.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-11431077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Miriam Böhm, ‘Detail I,’ 2015. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second gallery, the fuzzy quality of Sandback’s yarn appears like an apparition in Böhm’s black-and-white photographs, her hand-drawn parallelograms adding angles and planes to tableaux of what appear to be pieces of foam core on grey grounds. Over the years of seeing Böhm’s work in solo and group exhibitions at Ratio 3, the content of her photographs have grown more and more reductive as she continually flattens and compresses three-dimensional space. On one wall, the image of \u003ci>Detail I\u003c/i> is expanded as a wallpaper print, possibly the flattest an image can get. But after LeWitt’s floor to ceiling wall drawing, I wanted Böhm to similarly envelop me with the scale of her work. Because of its edges, \u003ci>Detail I\u003c/i> remains object-like.\u003c/p>\n\u003cp>Seeing Gonzalez-Torres, LeWitt and Sandback’s work in the context of a free gallery exhibition is a rare treat, but it’s also a presentation of the expected. Pederson and Böhm’s work doesn’t carry the same gravitas that come with having the words “estate of” attached to your name, but that’s a good thing. The past becomes a frame of reference for a future open to experimentation. Minimalism needs more purple pink paint. Conceptual art can be a work in progress. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Vanishing Point\u003c/b> is on view at Ratio 3 in San Francisco through May 14, 2016. For more information visit \u003ca href=\"http://www.ratio3.org/\" target=\"_blank\" rel=\"noopener\">ratio3.org\u003c/a>. \u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 889,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705044779,
"excerpt": "Group show links minimal sculpture with contemporary practices inside the Mission district's improbably airy gallery. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Group show links minimal sculpture with contemporary practices inside the Mission district's improbably airy gallery. ",
"title": "Minimal Lines Fill Maximum Space in Ratio 3’s ‘Vanishing Point’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Minimal Lines Fill Maximum Space in Ratio 3’s ‘Vanishing Point’",
"datePublished": "2016-03-23T15:00:33-07:00",
"dateModified": "2024-01-11T23:32:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "minimal-lines-fill-maximum-space-in-ratio-3s-vanishing-point",
"status": "publish",
"sticky": false,
"path": "/arts/11430961/minimal-lines-fill-maximum-space-in-ratio-3s-vanishing-point",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind the matte black front doors facing Mission Street, Ratio 3’s gallery space is improbably white and airy. Every single time I visit, I become further convinced the gallery’s interior is larger than its exterior. Those high ceilings and expansive floor plan can’t possibly exist in the space between a Foot Locker and “L. Quan Check Cashing and Healing Arts Centre.” \u003c/p>\n\u003cp>The television show \u003ci>Doctor Who\u003c/i> explains this effect as “\u003ca href=\"http://tardis.wikia.com/wiki/Dimensional_transcendentalism\" target=\"_blank\" rel=\"noopener\">dimensional transcendentalism\u003c/a>.” Your mother might helpfully explain that black is always slimming. Optical illusions and time travel aside, the spaciousness of Ratio 3’s interior is only enhanced by the current exhibition: an installation of work by Miriam Böhm, Felix Gonzalez-Torres, Sol LeWitt, Mitzi Pederson and Fred Sandback.\u003c/p>\n\u003cfigure id=\"attachment_11431081\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/FGTSand1200.jpg\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Felix Gonzalez-Torres, ‘”Untitled” (Portrait of Dad)’ and Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction).’ \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Vanishing Point\u003c/i> is a group show of just seven pieces. Presenting giants of minimalist and conceptual art alongside gallery artists Böhm and Pederson, Ratio 3 offers up an impressive art historical lineage for their contemporary artists. Should Bohm and Pederson be positioned as inheritors of this legacy? Without heavy-handed didacticism, \u003ci>Vanishing Point\u003c/i> makes a fairly persuasive argument for yes. \u003c/p>\n\u003cp>Works by LeWitt, Gonzalez-Torres and Sandback share more than just walls within major museum collections. Their work is prescriptive, their “dimensions variable,” their installations interpretations of often enigmatic rules. Just inside the gallery’s front doors, LeWitt’s subtle \u003ci>Wall Drawing #383\u003c/i>, executed under the supervision of the Sol LeWitt Estate, extends floor to ceiling. Precise vertical, horizontal and diagonal lines combine to create the image of a cube, establishing an exhibition-wide trend of simple lines introducing dimensionality and depth. \u003c/p>\n\u003cfigure id=\"attachment_11431084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg\" alt=\"Fred Sandback, 'Untitled (Sculptural Study, Cornered Construction),' 1984/2013.\" width=\"1200\" height=\"946\" class=\"size-full wp-image-11431084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-400x315.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-761x600.jpg 761w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-1180x930.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-960x757.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction),’ 1984/2013. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LeWitt’s ideograph of a cube takes shape, albeit flatly, in Gonzalez-Torres’ \u003ci>“Untitled” (Portrait of Dad)\u003c/i>, a rectangle of individually wrapped candies on the main gallery floor. The arrangement of ghostly, shiny sweets might be the dimensions of a twin-sized bed, or the size of a burial plot. Of the three instruction-based works on view in \u003ci>Vanishing Point\u003c/i>, just \u003ci>“Untitled”\u003c/i> was determined by Ratio 3’s staff alone; LeWitt and Sandback’s estates dispatched emissaries to install their respective works.\u003c/p>\n\u003cfigure id=\"attachment_11431082\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Pederson640.jpg\" alt=\"Mitzi Pederson, 'Untitled,' 2016.\" width=\"426\" height=\"640\" class=\"size-full wp-image-11431082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-399x600.jpg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Mitzi Pederson, ‘Untitled,’ 2016. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Böhm and Pederson’s pieces follow any rules, their logic is interior. Flanking Gonzalez-Torres’ candy spill are Pederson’s two rough-edged sculptures, made from thin arcs of plywood tightly bound with thread. Bowing out from the walls, these untitled works are the only pieces in the show to curve, or in any way depart from the straight lines, edges and precise corners that otherwise dominate \u003ci>Vanishing Point\u003c/i>.\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>Sandback’s \u003ci>Untitled (Sculptural Study, Cornered Construction)\u003c/i> is a line drawing in the air, rendered in taut strings of red and black yarn. In the afternoon, light from the gallery’s two high windows (another architectural facet completely invisible from Mission Street) spreads across the north wall and spills down to the concrete floor, casting linear shadows as it hits Sandback’s work. The sculpture, created in 1984 but first realized in 2013, ten years after the artist’s death, resembles the strings of a giant musical instrument. After freely picking up a Gonzalez-Torres candy (or two), it is unbearably tempting to pluck a string.\u003c/p>\n\u003cfigure id=\"attachment_11431077\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg\" alt=\"Miriam Böhm, 'Detail I,' 2015.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-11431077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Miriam Böhm, ‘Detail I,’ 2015. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second gallery, the fuzzy quality of Sandback’s yarn appears like an apparition in Böhm’s black-and-white photographs, her hand-drawn parallelograms adding angles and planes to tableaux of what appear to be pieces of foam core on grey grounds. Over the years of seeing Böhm’s work in solo and group exhibitions at Ratio 3, the content of her photographs have grown more and more reductive as she continually flattens and compresses three-dimensional space. On one wall, the image of \u003ci>Detail I\u003c/i> is expanded as a wallpaper print, possibly the flattest an image can get. But after LeWitt’s floor to ceiling wall drawing, I wanted Böhm to similarly envelop me with the scale of her work. Because of its edges, \u003ci>Detail I\u003c/i> remains object-like.\u003c/p>\n\u003cp>Seeing Gonzalez-Torres, LeWitt and Sandback’s work in the context of a free gallery exhibition is a rare treat, but it’s also a presentation of the expected. Pederson and Böhm’s work doesn’t carry the same gravitas that come with having the words “estate of” attached to your name, but that’s a good thing. The past becomes a frame of reference for a future open to experimentation. Minimalism needs more purple pink paint. Conceptual art can be a work in progress. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Vanishing Point\u003c/b> is on view at Ratio 3 in San Francisco through May 14, 2016. For more information visit \u003ca href=\"http://www.ratio3.org/\" target=\"_blank\" rel=\"noopener\">ratio3.org\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11430961/minimal-lines-fill-maximum-space-in-ratio-3s-vanishing-point",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11431078",
"label": "arts"
},
"arts_11423317": {
"type": "posts",
"id": "arts_11423317",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11423317",
"score": null,
"sort": [
1458745224000
]
},
"guestAuthors": [],
"slug": "cid-pearlmans-economies-of-effort-3-serves-up-thoughtful-art-and-delicious-soup",
"title": "Cid Pearlman’s ‘Economies of Effort: 3’ Serves Up Warming Art and Soup",
"publishDate": 1458745224,
"format": "standard",
"headTitle": "Cid Pearlman’s ‘Economies of Effort: 3’ Serves Up Warming Art and Soup | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>“Drink wine. Eat soup. Ask questions.” These are choreographer Cid Pearlman’s instructions to the audience before curtain at \u003cem>\u003ca href=\"http://www.cidpearlman.org/\" target=\"_blank\" rel=\"noopener\">Economies of Effort: 3\u003c/a>.\u003c/em> These words are far from the soothing “silence your cellphones and locate the nearest emergency exit” that we’ve come to expect at the kickoff of a dance performance, and serve to set the tone for the entertaining and provocative experience that is to come.\u003c/p>\n\u003cp>The initial two-weekend-long run of the production at \u003ca href=\"http://www.felixkulpa.com\" target=\"_blank\" rel=\"noopener\">Felix Kulpa Gallery\u003c/a> in Santa Cruz (the company moves to the Joe Goode Annex, San Francisco, in April) takes place in a courtyard bristling with fanciful fountains and sculptures made of found objects. The backdrop includes, among other objects, half-melted vintage Apple computers, a phone booth that looks suspiciously like the scene of a crime, and a PG&E utility pole resting at a graceful angle against the gallery fence. Much of the hardware is the handiwork of Robbie Schoen, sculptor, gallery director, and Cid Pearlman accomplice on this and other projects. The area is also strewn about with plywood boxes constructed by the dancers themselves in \u003cem>\u003ca href=\"http://www.cidpearlman.org/economies-of-effort-1\" target=\"_blank\" rel=\"noopener\">Economies of Effort:1\u003c/a>\u003c/em>, an earlier incarnation of this performance series.\u003c/p>\n\u003cp>At the top of the show, Pearlman’s company of 15 dancers disperses to various corners of the sculpture garden and gallery to engage each other in mysterious and intriguing rituals. Between outbursts of dance, they take turns chopping vegetables and stirring the soup in a stockpot simmering on a burner in the garden.\u003c/p>\n\u003cp>The audience is invited to wander.\u003c/p>\n\u003cfigure id=\"attachment_11423324\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11423324 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-768x642.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-1180x986.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-960x802.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539.jpg 1360w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>In one spot, dancers haul each other up to kiss the bright light at the top of a sagging street lamp. In another, a sextet of women repeatedly slams into a gallery wall, exploring it, scaling it, attacking it in impressive unison. Elsewhere, a quartet nuzzles and nudges a woman on top of a card table. At first the action seems playful. But when the group starts sloshing a basin of water over the woman’s head, thoughts of waterboarding come to mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this whimsical playground, the interactions, though mostly lighthearted and droll, often seem deliberately ambiguous. Inside a plywood box, a pair of dancers clamber acrobatically around each other, and over and around a pair of chairs. A sliver of artificial turf lying outside the box, like a welcome mat or a hint of lawn, suggests that this modest space is their home. Their fun-loving maneuvers morph into something more serious: a commentary on the Bay Area housing crisis.\u003c/p>\n\u003cfigure id=\"attachment_11423325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>The most searing sequence is a stylized wrestling match involving three men and a woman, who grapple barefoot inside the tight confines of an area inside the gallery painted checkerboard black and white. The dancers move to the haunting sounds of electric violin and cello emanating from a nearby laptop.\u003c/p>\n\u003cp>\u003cem>Economies of Effort\u003c/em> is a title that suggests hard times and hard work. But for the audience (limited to 35 in each run) the performance feels luxurious. Watching these distinctive dancers at such close quarters, at whatever angles we choose, with the liberty to come and go and share our thoughts with others as we please, is a rare pleasure. We know the show is over when the dancers take their bows in an eerie light thrown off by the steam rising from the stockpot and the murmur of “soup’s ready” ripples through the crowd.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://cidpearlman.org/home\" target=\"_blank\" rel=\"noopener\">Economies of Effort:3\u003c/a>\u003c/em> runs for one more weekend in Santa Cruz (Mar. 24 – 27) then migrates to the Joe Goode Annex in San Francisco from Apr. 8 – 9. Admission is free, part of Cid Pearlman’s “Year of Free.”\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Our critic revels in the sinister whimsy of the choreographer's ongoing series, this weekend at Felix Kulpa Gallery in Santa Cruz",
"status": "publish",
"parent": 0,
"modified": 1726771049,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 685
},
"headData": {
"title": "Cid Pearlman’s ‘Economies of Effort: 3’ Serves Up Warming Art and Soup | KQED",
"description": "Our critic revels in the sinister whimsy of the choreographer's ongoing series, this weekend at Felix Kulpa Gallery in Santa Cruz",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cid Pearlman’s ‘Economies of Effort: 3’ Serves Up Warming Art and Soup",
"datePublished": "2016-03-23T08:00:24-07:00",
"dateModified": "2024-09-19T11:37:29-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11423317/cid-pearlmans-economies-of-effort-3-serves-up-thoughtful-art-and-delicious-soup",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Drink wine. Eat soup. Ask questions.” These are choreographer Cid Pearlman’s instructions to the audience before curtain at \u003cem>\u003ca href=\"http://www.cidpearlman.org/\" target=\"_blank\" rel=\"noopener\">Economies of Effort: 3\u003c/a>.\u003c/em> These words are far from the soothing “silence your cellphones and locate the nearest emergency exit” that we’ve come to expect at the kickoff of a dance performance, and serve to set the tone for the entertaining and provocative experience that is to come.\u003c/p>\n\u003cp>The initial two-weekend-long run of the production at \u003ca href=\"http://www.felixkulpa.com\" target=\"_blank\" rel=\"noopener\">Felix Kulpa Gallery\u003c/a> in Santa Cruz (the company moves to the Joe Goode Annex, San Francisco, in April) takes place in a courtyard bristling with fanciful fountains and sculptures made of found objects. The backdrop includes, among other objects, half-melted vintage Apple computers, a phone booth that looks suspiciously like the scene of a crime, and a PG&E utility pole resting at a graceful angle against the gallery fence. Much of the hardware is the handiwork of Robbie Schoen, sculptor, gallery director, and Cid Pearlman accomplice on this and other projects. The area is also strewn about with plywood boxes constructed by the dancers themselves in \u003cem>\u003ca href=\"http://www.cidpearlman.org/economies-of-effort-1\" target=\"_blank\" rel=\"noopener\">Economies of Effort:1\u003c/a>\u003c/em>, an earlier incarnation of this performance series.\u003c/p>\n\u003cp>At the top of the show, Pearlman’s company of 15 dancers disperses to various corners of the sculpture garden and gallery to engage each other in mysterious and intriguing rituals. Between outbursts of dance, they take turns chopping vegetables and stirring the soup in a stockpot simmering on a burner in the garden.\u003c/p>\n\u003cp>The audience is invited to wander.\u003c/p>\n\u003cfigure id=\"attachment_11423324\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11423324 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-768x642.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-1180x986.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-960x802.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539.jpg 1360w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>In one spot, dancers haul each other up to kiss the bright light at the top of a sagging street lamp. In another, a sextet of women repeatedly slams into a gallery wall, exploring it, scaling it, attacking it in impressive unison. Elsewhere, a quartet nuzzles and nudges a woman on top of a card table. At first the action seems playful. But when the group starts sloshing a basin of water over the woman’s head, thoughts of waterboarding come to mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this whimsical playground, the interactions, though mostly lighthearted and droll, often seem deliberately ambiguous. Inside a plywood box, a pair of dancers clamber acrobatically around each other, and over and around a pair of chairs. A sliver of artificial turf lying outside the box, like a welcome mat or a hint of lawn, suggests that this modest space is their home. Their fun-loving maneuvers morph into something more serious: a commentary on the Bay Area housing crisis.\u003c/p>\n\u003cfigure id=\"attachment_11423325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>The most searing sequence is a stylized wrestling match involving three men and a woman, who grapple barefoot inside the tight confines of an area inside the gallery painted checkerboard black and white. The dancers move to the haunting sounds of electric violin and cello emanating from a nearby laptop.\u003c/p>\n\u003cp>\u003cem>Economies of Effort\u003c/em> is a title that suggests hard times and hard work. But for the audience (limited to 35 in each run) the performance feels luxurious. Watching these distinctive dancers at such close quarters, at whatever angles we choose, with the liberty to come and go and share our thoughts with others as we please, is a rare pleasure. We know the show is over when the dancers take their bows in an eerie light thrown off by the steam rising from the stockpot and the murmur of “soup’s ready” ripples through the crowd.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://cidpearlman.org/home\" target=\"_blank\" rel=\"noopener\">Economies of Effort:3\u003c/a>\u003c/em> runs for one more weekend in Santa Cruz (Mar. 24 – 27) then migrates to the Joe Goode Annex in San Francisco from Apr. 8 – 9. Admission is free, part of Cid Pearlman’s “Year of Free.”\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11423317/cid-pearlmans-economies-of-effort-3-serves-up-thoughtful-art-and-delicious-soup",
"authors": [
"11206"
],
"categories": [
"arts_966",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11423321",
"label": "arts"
},
"arts_11428541": {
"type": "posts",
"id": "arts_11428541",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11428541",
"score": null,
"sort": [
1458689416000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1458689416,
"format": "standard",
"title": "Chuck Prophet Releases 'Alex Nieto,' New Song Written After Jury Verdict",
"headTitle": "Chuck Prophet Releases ‘Alex Nieto,’ New Song Written After Jury Verdict | KQED",
"content": "\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/253966569″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 471,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705044792,
"excerpt": "Nieto's killing by SFPD officers and the recent jury verdict provoked a response from the local songwriter.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Nieto's killing by SFPD officers and the recent jury verdict provoked a response from the local songwriter.",
"title": "Chuck Prophet Releases 'Alex Nieto,' New Song Written After Jury Verdict | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Chuck Prophet Releases 'Alex Nieto,' New Song Written After Jury Verdict",
"datePublished": "2016-03-22T16:30:16-07:00",
"dateModified": "2024-01-11T23:33:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "chuck-prophet-responds-to-jury-verdict-with-new-song-alex-nieto",
"status": "publish",
"sticky": false,
"path": "/arts/11428541/chuck-prophet-responds-to-jury-verdict-with-new-song-alex-nieto",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/253966569″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/253966569″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\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>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11428541/chuck-prophet-responds-to-jury-verdict-with-new-song-alex-nieto",
"authors": [
"185"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_11428652",
"label": "arts"
},
"arts_11422332": {
"type": "posts",
"id": "arts_11422332",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11422332",
"score": null,
"sort": [
1458658856000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1458658856,
"format": "standard",
"title": "'Take This Hammer' Reveals Power of Art and Activism at YBCA",
"headTitle": "‘Take This Hammer’ Reveals Power of Art and Activism at YBCA | KQED",
"content": "\u003cp>At my very first direct action training some 20 years ago, I clearly remember the facilitator emphasizing the importance of using creativity to get our messages about capitalism, deforestation and racism out there. “It will make people think,” he told us. “And in the very least, the police won’t know what to do you with you if you’re dressed like a clown-tree and performing a monologue about sweat shop labor while riding a unicycle.”\u003c/p>\n\u003cp>He was right. The intersection of art and activism certainly makes people think. And at this moment in history, critical thinking is desperately needed.\u003c/p>\n\u003cp>In today’s world of online petition activism and social media political memes, it can be easy to click away and forget the many other forms of action that change makers engage with out in the real world — and the varied creative mediums they use to get their messages to the masses.\u003c/p>\n\u003cfigure id=\"attachment_11422442\" class=\"wp-caption aligncenter\" style=\"max-width: 1082px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422442 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg\" alt=\"Carved and inked particle board from CultureStrike\" width=\"1082\" height=\"878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-739x600.jpg 739w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-768x623.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-960x779.jpg 960w\" sizes=\"(max-width: 1082px) 100vw, 1082px\">\u003cfigcaption class=\"wp-caption-text\">Carved and inked particle board from CultureStrike \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">\u003cem>Take This Hammer: Art + Media Activism from the Bay Area\u003c/em>\u003c/a> brings together an extensive, radical and heart-wrenching collection of multimedia activist art that should be required viewing.\u003c/p>\n\u003cp>The exhibition, which runs through August at the Yerba Buena Center for the Arts in San Francisco, covers a lot of ground, a survey that can at once be overwhelming and inspirational. The overwhelm of course comes from the vast range of socio-political and environmental issues we currently face as a society: racism, police brutality, housing crises/gentrification, poverty, the prison industrial complex, the list goes on. The inspiration comes from the seemingly endless creativity utilized within visual, performing and literary arts as tools for individual and collective resistance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition begins in the lobby of the YBCA with a row of screens playing various film clips, including \u003cem>\u003ca href=\"https://vimeo.com/13175192\" target=\"_blank\" rel=\"noopener\">Take This Hammer\u003c/a>\u003c/em>, the 1963 documentary featuring James Baldwin’s trip to San Francisco, \u003cem>Walls into Bridges\u003c/em>, featuring Angela Davis and episode 10 of \u003cem>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223557\" target=\"_blank\" rel=\"noopener\">Blacks, Blues, Black!\u003c/a>\u003c/em> a 1968 documentary series written and produced exclusively for KQED by Maya Angelou.\u003c/p>\n\u003cfigure id=\"attachment_11422443\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422443 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg\" alt=\"Anti-Eviction Mapping Project\" width=\"1280\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-960x676.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Anti-Eviction Mapping Project \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the main gallery on the first floor, where the bulk of \u003cem>Take This Hammer\u003c/em> is on display, visitors are greeted with a wall of protest posters from San Leandro-based \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. The collaborate project focuses on Chicana feminism and the intersection of indigenous rights with autonomy; posters cover issues spanning from the disappearances of women in Ciudad Juárez, Mexico to the liberation of Palestine.\u003c/p>\n\u003cp>Work from Oakland-based activist organization \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> is prominently displayed as well, including video installations, a collection of protest signs, and executive director Favianna Rodriguez’s 13-by-30-foot \u003cem>Pleasure is Freedom\u003c/em> mural.\u003c/p>\n\u003cp>Other video work inside the main gallery includes \u003cem>‘Tasha\u003c/em>, a video piece written and performed by Cat Brooks of Black Lives Matter and the \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>, \u003ca href=\"http://www.lesliedreyer.com/\" target=\"_blank\" rel=\"noopener\">Leslie Dreyer\u003c/a>’s anti-Google bus tactical intervention and William Rhodes’ \u003cem>Cross Burning\u003c/em>, a short video documenting his construction of a 12-foot-tall cross made of mirror, glass and gold leaf.\u003c/p>\n\u003cfigure id=\"attachment_11422444\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422444 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg\" alt=\"Oree Originol, Detail from 'Justice for Alex Nieto' \" width=\"1527\" height=\"1709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-536x600.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-768x860.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1054x1180.jpg 1054w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1180x1321.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-960x1074.jpg 960w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Oree Originol, Detail from ‘Justice for Alex Nieto’ \u003ccite>(Dani Burlison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://adrienneskyeroberts.com/\" target=\"_blank\" rel=\"noopener\">Adrienne Skye Roberts\u003c/a>’ \u003cem>A Living Chance: Storytelling to End Life Without Parole\u003c/em> project includes stacks of eight different postcards (and accompanying audio) that visitors are free to take. Each card includes a portrait of a woman incarcerated for life without parole (portraits by Billie Simões Belo), with commentary about life in prison — in the women’s own words — on each card.\u003c/p>\n\u003cp>The ambitious exhibition also includes installations from the \u003ca href=\"http://www.antievictionmap.com/\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, \u003ca href=\"http://www.guantanamobaymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Guantanamo Bay Museum of Art and History,\u003c/a> Emory Douglas, Tucker Nichols, an incredible analysis of San Francisco’s activist culture written by Rebecca Solnit (available for free in the YBCA lobby) and so much more.\u003c/p>\n\u003cp>Yet the most punch-in-the-gut installation for me, personally, was the timely presence of \u003ca href=\"http://oreeoriginol.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Oree Originol\u003c/a>’s \u003cem>Justice For Our Lives\u003c/em>. A collection of simple sketches of people of color killed by law enforcement since 2014, the bright sheets of paper cover an entire wall. The names and faces of victims from our greater Bay Area community include Oscar Grant, 13-year-old Andy Lopez, Mario Woods and Alex Nieto, who was killed in San Francisco in March 2014. Just a week before \u003cem>Take This Hammer\u003c/em> opened, the four police officers who fired 59 shots at Nieto were \u003ca href=\"http://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">cleared of any wrongdoing\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Take This Hammer\u003c/em> makes us think. And then it makes us think some more. I suggest a long, thoughtful visit to the exhibition before going home and working on some creative resistance of your own.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Take This Hammer\u003c/strong> is on view at Yerba Buena Center for the Arts in San Francisco through August 14, 2016. For tickets and more information visit \u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 821,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705044799,
"excerpt": "An overwhelming and inspirational group show prompts critical thinking about social injustices when it is desperately needed.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An overwhelming and inspirational group show prompts critical thinking about social injustices when it is desperately needed.",
"title": "'Take This Hammer' Reveals Power of Art and Activism at YBCA | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Take This Hammer' Reveals Power of Art and Activism at YBCA",
"datePublished": "2016-03-22T08:00:56-07:00",
"dateModified": "2024-01-11T23:33:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "take-this-hammer-reveals-power-of-art-and-activism-at-ybca",
"status": "publish",
"sticky": false,
"path": "/arts/11422332/take-this-hammer-reveals-power-of-art-and-activism-at-ybca",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At my very first direct action training some 20 years ago, I clearly remember the facilitator emphasizing the importance of using creativity to get our messages about capitalism, deforestation and racism out there. “It will make people think,” he told us. “And in the very least, the police won’t know what to do you with you if you’re dressed like a clown-tree and performing a monologue about sweat shop labor while riding a unicycle.”\u003c/p>\n\u003cp>He was right. The intersection of art and activism certainly makes people think. And at this moment in history, critical thinking is desperately needed.\u003c/p>\n\u003cp>In today’s world of online petition activism and social media political memes, it can be easy to click away and forget the many other forms of action that change makers engage with out in the real world — and the varied creative mediums they use to get their messages to the masses.\u003c/p>\n\u003cfigure id=\"attachment_11422442\" class=\"wp-caption aligncenter\" style=\"max-width: 1082px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422442 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg\" alt=\"Carved and inked particle board from CultureStrike\" width=\"1082\" height=\"878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-739x600.jpg 739w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-768x623.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-960x779.jpg 960w\" sizes=\"(max-width: 1082px) 100vw, 1082px\">\u003cfigcaption class=\"wp-caption-text\">Carved and inked particle board from CultureStrike \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">\u003cem>Take This Hammer: Art + Media Activism from the Bay Area\u003c/em>\u003c/a> brings together an extensive, radical and heart-wrenching collection of multimedia activist art that should be required viewing.\u003c/p>\n\u003cp>The exhibition, which runs through August at the Yerba Buena Center for the Arts in San Francisco, covers a lot of ground, a survey that can at once be overwhelming and inspirational. The overwhelm of course comes from the vast range of socio-political and environmental issues we currently face as a society: racism, police brutality, housing crises/gentrification, poverty, the prison industrial complex, the list goes on. The inspiration comes from the seemingly endless creativity utilized within visual, performing and literary arts as tools for individual and collective resistance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition begins in the lobby of the YBCA with a row of screens playing various film clips, including \u003cem>\u003ca href=\"https://vimeo.com/13175192\" target=\"_blank\" rel=\"noopener\">Take This Hammer\u003c/a>\u003c/em>, the 1963 documentary featuring James Baldwin’s trip to San Francisco, \u003cem>Walls into Bridges\u003c/em>, featuring Angela Davis and episode 10 of \u003cem>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223557\" target=\"_blank\" rel=\"noopener\">Blacks, Blues, Black!\u003c/a>\u003c/em> a 1968 documentary series written and produced exclusively for KQED by Maya Angelou.\u003c/p>\n\u003cfigure id=\"attachment_11422443\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422443 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg\" alt=\"Anti-Eviction Mapping Project\" width=\"1280\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-960x676.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Anti-Eviction Mapping Project \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the main gallery on the first floor, where the bulk of \u003cem>Take This Hammer\u003c/em> is on display, visitors are greeted with a wall of protest posters from San Leandro-based \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. The collaborate project focuses on Chicana feminism and the intersection of indigenous rights with autonomy; posters cover issues spanning from the disappearances of women in Ciudad Juárez, Mexico to the liberation of Palestine.\u003c/p>\n\u003cp>Work from Oakland-based activist organization \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> is prominently displayed as well, including video installations, a collection of protest signs, and executive director Favianna Rodriguez’s 13-by-30-foot \u003cem>Pleasure is Freedom\u003c/em> mural.\u003c/p>\n\u003cp>Other video work inside the main gallery includes \u003cem>‘Tasha\u003c/em>, a video piece written and performed by Cat Brooks of Black Lives Matter and the \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>, \u003ca href=\"http://www.lesliedreyer.com/\" target=\"_blank\" rel=\"noopener\">Leslie Dreyer\u003c/a>’s anti-Google bus tactical intervention and William Rhodes’ \u003cem>Cross Burning\u003c/em>, a short video documenting his construction of a 12-foot-tall cross made of mirror, glass and gold leaf.\u003c/p>\n\u003cfigure id=\"attachment_11422444\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422444 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg\" alt=\"Oree Originol, Detail from 'Justice for Alex Nieto' \" width=\"1527\" height=\"1709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-536x600.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-768x860.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1054x1180.jpg 1054w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1180x1321.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-960x1074.jpg 960w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Oree Originol, Detail from ‘Justice for Alex Nieto’ \u003ccite>(Dani Burlison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://adrienneskyeroberts.com/\" target=\"_blank\" rel=\"noopener\">Adrienne Skye Roberts\u003c/a>’ \u003cem>A Living Chance: Storytelling to End Life Without Parole\u003c/em> project includes stacks of eight different postcards (and accompanying audio) that visitors are free to take. Each card includes a portrait of a woman incarcerated for life without parole (portraits by Billie Simões Belo), with commentary about life in prison — in the women’s own words — on each card.\u003c/p>\n\u003cp>The ambitious exhibition also includes installations from the \u003ca href=\"http://www.antievictionmap.com/\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, \u003ca href=\"http://www.guantanamobaymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Guantanamo Bay Museum of Art and History,\u003c/a> Emory Douglas, Tucker Nichols, an incredible analysis of San Francisco’s activist culture written by Rebecca Solnit (available for free in the YBCA lobby) and so much more.\u003c/p>\n\u003cp>Yet the most punch-in-the-gut installation for me, personally, was the timely presence of \u003ca href=\"http://oreeoriginol.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Oree Originol\u003c/a>’s \u003cem>Justice For Our Lives\u003c/em>. A collection of simple sketches of people of color killed by law enforcement since 2014, the bright sheets of paper cover an entire wall. The names and faces of victims from our greater Bay Area community include Oscar Grant, 13-year-old Andy Lopez, Mario Woods and Alex Nieto, who was killed in San Francisco in March 2014. Just a week before \u003cem>Take This Hammer\u003c/em> opened, the four police officers who fired 59 shots at Nieto were \u003ca href=\"http://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">cleared of any wrongdoing\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Take This Hammer\u003c/em> makes us think. And then it makes us think some more. I suggest a long, thoughtful visit to the exhibition before going home and working on some creative resistance of your own.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Take This Hammer\u003c/strong> is on view at Yerba Buena Center for the Arts in San Francisco through August 14, 2016. For tickets and more information visit \u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11422332/take-this-hammer-reveals-power-of-art-and-activism-at-ybca",
"authors": [
"3216"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11426951",
"label": "arts"
},
"arts_11416241": {
"type": "posts",
"id": "arts_11416241",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11416241",
"score": null,
"sort": [
1458342014000
]
},
"guestAuthors": [],
"slug": "golden-gate-explores-chinese-immigrant-experience-in-bay-area",
"title": "'Golden Gate' Explores Chinese Immigrant Experience in Bay Area",
"publishDate": 1458342014,
"format": "standard",
"headTitle": "‘Golden Gate’ Explores Chinese Immigrant Experience in Bay Area | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>As I was listening to Chris Rock take it to the nervous white liberals of Hollywood at this year’s Oscars, my mind drifted for a moment. I wondered if I could remember the last time an Asian actor was nominated for an Academy Award? At the time I could only come up with Haing S. Ngor, who won for \u003cem>The Killing Fields\u003c/em> in 1984, although there have been a few others. It seemed strange that this type of cultural exclusion hasn’t become a hotter political issue, given how deeply rooted Asian culture — and especially Chinese culture — is in California.\u003c/p>\n\u003cp>Chinese Whispers is a company dedicated to keeping alive the rich and subtly dramatic history of Chinese immigrants, and in so doing, underscores the importance of the debate around cultural exclusion. On Thursday, I had the pleasure of attending the final dress rehearsal of the company’s latest production, \u003cem>\u003ca href=\"http://chinese-whispers.org/golden-gate/\" target=\"_blank\" rel=\"noopener\">Golden Gate\u003c/a>\u003c/em>, a multi-media ethnographic theater piece that opens Friday, Mar. 18 at San Francisco’s Fort Mason Center and runs through the weekend.\u003c/p>\n\u003cp>Director Rene Yung has gathered an impressive amount of material here, primarily from formal interviews and storytelling workshops held at the Chinatown YMCA in San Francisco. She’s taken that research and woven it into a work that slips back and forth in time, attempting to capture what it must have felt like for Chinese immigrants living in the Bay Area.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Support Chinese Whispers: Golden Gate Theater Production!\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qyp1IbPw1A8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Performed by a company of nine storytellers, ranging in age from 32 to 84, we hear what feels like hundreds of private histories coming to life before us. They aren’t big stories, but rather the day-to-day lives of ordinary people. The characters struggle against harsh economic conditions and racist politics—most obviously the Chinese Exclusion Act of 1882 that attempted to cut off Chinese immigration in the U.S. and wasn’t repealed until 1943. But the emphasis is on how these particular people and their communities just went on about their lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The performers aren’t professional actors and it shows. They often struggle to find a rhythm and presence on stage. Yet there’s a moment towards the end of the first act when you see what Yung is after and how powerful it could be. All the performers gather in a cluster of chairs center stage. There’s a construction light off to the side whose harsh glare seems to work in opposition to the soft green scrim behind the company. And then they just talk and listen to each other. There are many much more experienced actors who should listen as intently and well as the cast does here.\u003c/p>\n\u003cp>The production features stories about a wide variety of topics: family businesses that thrive and disappear; what it feels like to be a child growing up in Locke, a rural Chinese community just outside of Stockton, and San Francisco’s Chinatown; the importance of the fishing industry and how dead the Bay seems now both as a source of food and industry. The show also takes a humorous glance at how some immigrant families probably engaged in a few illicit enterprises, and the hope, among their descendants, that they weren’t so bad. For that one stretch, \u003cem>Golden Gate\u003c/em> is riveting.\u003c/p>\n\u003cp>I wish that the whole piece could have the same energy. But Yung hasn’t yet found a consistent aesthetic to give voice to the many fascinating and beautiful stories she has uncovered. Maybe the show will find surer ground over the course of its short run this weekend or in subsequent productions. It’s a worthy project, just not one that’s realized its potential.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Golden Gate\u003c/em> plays March 18-20 at the South Side Theater (Fort Mason Center) in San Francisco. For tickets and information go to www.chinese-whispers.org.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Chinese Whispers' new multimedia performance work slips back and forth in time, attempting to capture what it must have been like for resettled families",
"status": "publish",
"parent": 0,
"modified": 1726771054,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 676
},
"headData": {
"title": "'Golden Gate' Explores Chinese Immigrant Experience in Bay Area | KQED",
"description": "Chinese Whispers' new multimedia performance work slips back and forth in time, attempting to capture what it must have been like for resettled families",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Golden Gate' Explores Chinese Immigrant Experience in Bay Area",
"datePublished": "2016-03-18T16:00:14-07:00",
"dateModified": "2024-09-19T11:37:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11416241/golden-gate-explores-chinese-immigrant-experience-in-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I was listening to Chris Rock take it to the nervous white liberals of Hollywood at this year’s Oscars, my mind drifted for a moment. I wondered if I could remember the last time an Asian actor was nominated for an Academy Award? At the time I could only come up with Haing S. Ngor, who won for \u003cem>The Killing Fields\u003c/em> in 1984, although there have been a few others. It seemed strange that this type of cultural exclusion hasn’t become a hotter political issue, given how deeply rooted Asian culture — and especially Chinese culture — is in California.\u003c/p>\n\u003cp>Chinese Whispers is a company dedicated to keeping alive the rich and subtly dramatic history of Chinese immigrants, and in so doing, underscores the importance of the debate around cultural exclusion. On Thursday, I had the pleasure of attending the final dress rehearsal of the company’s latest production, \u003cem>\u003ca href=\"http://chinese-whispers.org/golden-gate/\" target=\"_blank\" rel=\"noopener\">Golden Gate\u003c/a>\u003c/em>, a multi-media ethnographic theater piece that opens Friday, Mar. 18 at San Francisco’s Fort Mason Center and runs through the weekend.\u003c/p>\n\u003cp>Director Rene Yung has gathered an impressive amount of material here, primarily from formal interviews and storytelling workshops held at the Chinatown YMCA in San Francisco. She’s taken that research and woven it into a work that slips back and forth in time, attempting to capture what it must have felt like for Chinese immigrants living in the Bay Area.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Support Chinese Whispers: Golden Gate Theater Production!\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qyp1IbPw1A8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Performed by a company of nine storytellers, ranging in age from 32 to 84, we hear what feels like hundreds of private histories coming to life before us. They aren’t big stories, but rather the day-to-day lives of ordinary people. The characters struggle against harsh economic conditions and racist politics—most obviously the Chinese Exclusion Act of 1882 that attempted to cut off Chinese immigration in the U.S. and wasn’t repealed until 1943. But the emphasis is on how these particular people and their communities just went on about their lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The performers aren’t professional actors and it shows. They often struggle to find a rhythm and presence on stage. Yet there’s a moment towards the end of the first act when you see what Yung is after and how powerful it could be. All the performers gather in a cluster of chairs center stage. There’s a construction light off to the side whose harsh glare seems to work in opposition to the soft green scrim behind the company. And then they just talk and listen to each other. There are many much more experienced actors who should listen as intently and well as the cast does here.\u003c/p>\n\u003cp>The production features stories about a wide variety of topics: family businesses that thrive and disappear; what it feels like to be a child growing up in Locke, a rural Chinese community just outside of Stockton, and San Francisco’s Chinatown; the importance of the fishing industry and how dead the Bay seems now both as a source of food and industry. The show also takes a humorous glance at how some immigrant families probably engaged in a few illicit enterprises, and the hope, among their descendants, that they weren’t so bad. For that one stretch, \u003cem>Golden Gate\u003c/em> is riveting.\u003c/p>\n\u003cp>I wish that the whole piece could have the same energy. But Yung hasn’t yet found a consistent aesthetic to give voice to the many fascinating and beautiful stories she has uncovered. Maybe the show will find surer ground over the course of its short run this weekend or in subsequent productions. It’s a worthy project, just not one that’s realized its potential.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Golden Gate\u003c/em> plays March 18-20 at the South Side Theater (Fort Mason Center) in San Francisco. For tickets and information go to www.chinese-whispers.org.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11416241/golden-gate-explores-chinese-immigrant-experience-in-bay-area",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11416358",
"label": "arts_140"
},
"arts_11414781": {
"type": "posts",
"id": "arts_11414781",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11414781",
"score": null,
"sort": [
1458313217000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1458313217,
"format": "standard",
"title": "People Still Terrible in the Near Future of ‘Creative Control’",
"headTitle": "People Still Terrible in the Near Future of ‘Creative Control’ | KQED",
"content": "\u003cp>\u003ci>Creative Control\u003c/i>, a new science fiction film opening Friday in theaters across the Bay Area, begins in a Brooklyn of the near future, a future full of glass-doored offices, well-appointed lofts and wearable technology. \u003c/p>\n\u003cp>Is it a utopic future? No, those aren’t really interesting — and they usually belie a sinister, motivating secret. It’s a dystopia then? Not that either: society remains intact. Far more uncomfortable than either classifying dichotomy, the future depicted in \u003ci>Creative Control\u003c/i>, by the film’s end credits, seems inevitable.\u003c/p>\n\u003cp>https://youtu.be/IDCcO7uGQQk\u003c/p>\n\u003cp>The movie opens as advertising executive David (\u003ci>Creative Control\u003c/i>’s writer/director Benjamin Dickinson) shows up at work late and hungover. Handsome, stylish and sporting just the right amount of facial hair, he’s instantly unlikable.\u003c/p>\n\u003cp>During \u003ca href=\"http://www.kqed.org/a/forum/R201602261000\" target=\"_blank\" rel=\"noopener\">a recent appearance on KQED’s Forum\u003c/a>, Dickinson explained how he created the character of David. “I just exaggerated all my worst qualities,” he said. “I think David is a prototypical white male in his thirties working in tech… ambitious, empty, neurotic.”\u003c/p>\n\u003cfigure id=\"attachment_11414784\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as David’s ambitious, empty, neurotic persona makes it difficult for him to care about anything or anyone, it’s hard to care about the main characters in Dickinson’s film: David, his yoga-instructor girlfriend Juliette (Nora Zehetner from \u003ci>Brick\u003c/i>), his best friend and playboy fashion photographer Wim (Dan Gill), or Wim’s girlfriend Sophie (Alexia Rasmussen). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The shallow narrative arc of \u003ci>Creative Control\u003c/i> centers around David’s use of “Augmenta,” augmented reality technology that looks like a pair of slick, clear-framed glasses in a Cupertino-made box. Tasked with the job of developing a creative advertising campaign for Augmenta, David outsources that job to “a genius-level creative,” musician and performer Reggie Watts playing, well, \u003ca href=\"http://reggiewatts.com/\" target=\"_blank\" rel=\"noopener\">Reggie Watts\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11414918\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Watts.jpg\" alt=\"Reggie Watts in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11414918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Watts in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As David toys with Augmenta on his own time, developing a digital avatar of Sophie to fulfill his covetous fantasies, he grows more distant from his real-life girlfriend — in the midst of her own thinly-sketched crisis of faith regarding the question of yoga or no yoga, and if no yoga, what else. If Juliette enjoys a life without overt digital intervention, a more bodily engagement with the world, she’s also directionless, naïve and oblivious to her own privilege. See what I said about hard to like?\u003c/p>\n\u003cp>Wim shares none of David’s anxiety about sex, relationships or technology, mostly because he leads a purely hedonistic lifestyle, sleeping with his models, carrying on with Sophie, sending \u003cem>in flagrante\u003c/em> pictures to his best friend.\u003c/p>\n\u003cp>And what can I say about Sophie, the object of David’s affection? Not much. Her digital avatar, who looks very much like Alicia Vikander in \u003ci>Ex Machina\u003c/i> is sultry and obedient, her real-life self flirts with danger, but ultimately avoids any real impropriety. She, too, works in fashion. \u003c/p>\n\u003cfigure id=\"attachment_11414786\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg\" alt=\"The Sophie avatar in formation, a scene from 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Sophie avatar in formation, a scene from ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the main characters all work in worlds dominated by appearances, or the appearance of bettering oneself, it’s fitting that \u003ci>Creative Control\u003c/i> looks good. Shot in black and white, with \u003ci>Pleasantville\u003c/i>-esque moments of color for the digital avatar of Sophie, the movie presents a future instantly recognizable as the next, better-designed iteration of our own. Phones become slim tablets of clear plastic, David manipulates Augmenta with the tap of a few fingertips, Brooklyn is even cleaner than it is now.\u003c/p>\n\u003cp>It’s at a technology-free party hosted by Watts that the movie proposes a bit of central tension. “We’re definitely more comfortable with loops because you know where you’re gonna end up,” Watts says to a drugged-out David. Will the ad man choose a looped life or branch out (in his mind, this means pursue Sophie) to explore spiral-shaped possibilities?\u003c/p>\n\u003cfigure id=\"attachment_11414785\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nora Zehetner and Benjamin Dickinson in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no big moral lesson here; ambitious, empty, neurotic people rarely provide much in the way of learning opportunities. But \u003ci>Creative Control\u003c/i> does reflect — at times — an uncannily familiar world to our own. New technology both helps and hinders us, but in \u003ci>Creative Control\u003c/i>, as in real life, it’s the preexisting malaise, anxiety and relationships that shape our use of that technology, not the other way around.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Creative Control\u003c/strong> opens March 18 at Landmark Opera Plaza in San Francisco, Landmark Shattuck in Berkeley, Camera 3 in San Jose. For more information visit \u003ca href=\"http://www.magpictures.com/creativecontrol/\" target=\"_blank\" rel=\"noopener\">magpictures.com/creativecontrol\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 827,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705044825,
"excerpt": "The characters in Benjamin Dickinson's new sci-fi don't need technology to make them unhappy, they're doing fine on their own.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The characters in Benjamin Dickinson's new sci-fi don't need technology to make them unhappy, they're doing fine on their own.",
"title": "People Still Terrible in the Near Future of ‘Creative Control’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "People Still Terrible in the Near Future of ‘Creative Control’",
"datePublished": "2016-03-18T08:00:17-07:00",
"dateModified": "2024-01-11T23:33:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "people-still-terrible-in-the-near-future-of-creative-control",
"status": "publish",
"sticky": false,
"path": "/arts/11414781/people-still-terrible-in-the-near-future-of-creative-control",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Creative Control\u003c/i>, a new science fiction film opening Friday in theaters across the Bay Area, begins in a Brooklyn of the near future, a future full of glass-doored offices, well-appointed lofts and wearable technology. \u003c/p>\n\u003cp>Is it a utopic future? No, those aren’t really interesting — and they usually belie a sinister, motivating secret. It’s a dystopia then? Not that either: society remains intact. Far more uncomfortable than either classifying dichotomy, the future depicted in \u003ci>Creative Control\u003c/i>, by the film’s end credits, seems inevitable.\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/IDCcO7uGQQk'\n title='//www.youtube.com/embed/IDCcO7uGQQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie opens as advertising executive David (\u003ci>Creative Control\u003c/i>’s writer/director Benjamin Dickinson) shows up at work late and hungover. Handsome, stylish and sporting just the right amount of facial hair, he’s instantly unlikable.\u003c/p>\n\u003cp>During \u003ca href=\"http://www.kqed.org/a/forum/R201602261000\" target=\"_blank\" rel=\"noopener\">a recent appearance on KQED’s Forum\u003c/a>, Dickinson explained how he created the character of David. “I just exaggerated all my worst qualities,” he said. “I think David is a prototypical white male in his thirties working in tech… ambitious, empty, neurotic.”\u003c/p>\n\u003cfigure id=\"attachment_11414784\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as David’s ambitious, empty, neurotic persona makes it difficult for him to care about anything or anyone, it’s hard to care about the main characters in Dickinson’s film: David, his yoga-instructor girlfriend Juliette (Nora Zehetner from \u003ci>Brick\u003c/i>), his best friend and playboy fashion photographer Wim (Dan Gill), or Wim’s girlfriend Sophie (Alexia Rasmussen). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The shallow narrative arc of \u003ci>Creative Control\u003c/i> centers around David’s use of “Augmenta,” augmented reality technology that looks like a pair of slick, clear-framed glasses in a Cupertino-made box. Tasked with the job of developing a creative advertising campaign for Augmenta, David outsources that job to “a genius-level creative,” musician and performer Reggie Watts playing, well, \u003ca href=\"http://reggiewatts.com/\" target=\"_blank\" rel=\"noopener\">Reggie Watts\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11414918\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Watts.jpg\" alt=\"Reggie Watts in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11414918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Watts in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As David toys with Augmenta on his own time, developing a digital avatar of Sophie to fulfill his covetous fantasies, he grows more distant from his real-life girlfriend — in the midst of her own thinly-sketched crisis of faith regarding the question of yoga or no yoga, and if no yoga, what else. If Juliette enjoys a life without overt digital intervention, a more bodily engagement with the world, she’s also directionless, naïve and oblivious to her own privilege. See what I said about hard to like?\u003c/p>\n\u003cp>Wim shares none of David’s anxiety about sex, relationships or technology, mostly because he leads a purely hedonistic lifestyle, sleeping with his models, carrying on with Sophie, sending \u003cem>in flagrante\u003c/em> pictures to his best friend.\u003c/p>\n\u003cp>And what can I say about Sophie, the object of David’s affection? Not much. Her digital avatar, who looks very much like Alicia Vikander in \u003ci>Ex Machina\u003c/i> is sultry and obedient, her real-life self flirts with danger, but ultimately avoids any real impropriety. She, too, works in fashion. \u003c/p>\n\u003cfigure id=\"attachment_11414786\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg\" alt=\"The Sophie avatar in formation, a scene from 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Sophie avatar in formation, a scene from ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the main characters all work in worlds dominated by appearances, or the appearance of bettering oneself, it’s fitting that \u003ci>Creative Control\u003c/i> looks good. Shot in black and white, with \u003ci>Pleasantville\u003c/i>-esque moments of color for the digital avatar of Sophie, the movie presents a future instantly recognizable as the next, better-designed iteration of our own. Phones become slim tablets of clear plastic, David manipulates Augmenta with the tap of a few fingertips, Brooklyn is even cleaner than it is now.\u003c/p>\n\u003cp>It’s at a technology-free party hosted by Watts that the movie proposes a bit of central tension. “We’re definitely more comfortable with loops because you know where you’re gonna end up,” Watts says to a drugged-out David. Will the ad man choose a looped life or branch out (in his mind, this means pursue Sophie) to explore spiral-shaped possibilities?\u003c/p>\n\u003cfigure id=\"attachment_11414785\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nora Zehetner and Benjamin Dickinson in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no big moral lesson here; ambitious, empty, neurotic people rarely provide much in the way of learning opportunities. But \u003ci>Creative Control\u003c/i> does reflect — at times — an uncannily familiar world to our own. New technology both helps and hinders us, but in \u003ci>Creative Control\u003c/i>, as in real life, it’s the preexisting malaise, anxiety and relationships that shape our use of that technology, not the other way around.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Creative Control\u003c/strong> opens March 18 at Landmark Opera Plaza in San Francisco, Landmark Shattuck in Berkeley, Camera 3 in San Jose. For more information visit \u003ca href=\"http://www.magpictures.com/creativecontrol/\" target=\"_blank\" rel=\"noopener\">magpictures.com/creativecontrol\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11414781/people-still-terrible-in-the-near-future-of-creative-control",
"authors": [
"61"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13258458",
"label": "arts"
},
"arts_11412346": {
"type": "posts",
"id": "arts_11412346",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11412346",
"score": null,
"sort": [
1458309656000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1458309656,
"format": "standard",
"title": "A War Seen In Unnerving Close-Up from 'Eye in the Sky'",
"headTitle": "A War Seen In Unnerving Close-Up from ‘Eye in the Sky’ | KQED",
"content": "\u003cp>In \u003cem>A War\u003c/em>, a Danish commander whose troops are under attack by the Taliban calls in an air strike, and later has to answer for it in a courtroom. \u003cem>Eye in the Sky\u003c/em> mashes those two narratives together. While a drone pilot in Nevada prepares to hit al-Shabaab terrorists in Nairobi, the morality of this potential action is debated by politicos in London.\u003c/p>\n\u003cp>The movie is both provocative and fairly gripping, if not altogether convincing. As directed by Gavin Hood, a South African whose \u003cem>Rendition\u003c/em> took a broader and more melodramatic look at Western responses to extremist violence, \u003cem>Eye in the Sky\u003c/em> neatly contrasts urgency and hesitation, and pits near-certainty against reasonable doubt.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zoBk3e9fFPU\u003c/p>\n\u003cp>This is the structure provided by writer Guy Hibbert, whose script essentially interlaces a thriller with a courtroom drama. The story begins with a Muslim family in Kenya and a military officer in Britain. Col. Powell (Helen Mirren) has long tracked a U.K.-born woman who married a Somali man suspected of terrorism and converted to his brand of Islam. The family’s young daughter, Alia (Aisha Tashow), is about to get in the colonel’s way.\u003c/p>\n\u003cp>Powell and her small crew of technicians, no-nonsense except for their unnecessary camouflage uniforms, can’t do the job alone. The American drone operator (Aaron Paul) and other U.S. military personnel are in the electronic loop. Their cooperation becomes essential after the colonel peeks inside a house via bird- and insect-mimicking drones that may be a bit cuter than their real-life equivalents. Powell determines that her targets are about to undertake a suicide bombing, so she wants to kill them first. Only the Yanks have the means to do that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The process quickly gets lawyered up. There’s an attorney to offer cautions at the base where Powell works, and British Lt. Gen. Benson (the late Alan Rickman) heads to a cabinet briefing room to consult with legalistic politicians. Soon, they’ve got the foreign secretary on the video-phone from Singapore. The stalling irritates Powell and Benson (and Rickman was a master of exasperation).\u003c/p>\n\u003cp>The talking heads are physically detached from the situation, but the British have a man on the ground in Kenya, Jama (Somalia-born Barkhad Abdi, who played the pirate leader in \u003cem>Captain Phillips\u003c/em>). He’s assigned to move Alia, who’s selling loaves of bread, away from the house the British want to bomb. That turns out to be tricky, and so chubby-cheeked Alia becomes the human face of possible collateral damage.\u003c/p>\n\u003cp>All the live video provides an intimacy new to missile attacks. The Britons have seen in closeup the innocent girl they might slay. Still, they devote an implausible amount of time to discussing the quandary, and some moments of American reluctance seem even more unlikely. These scenes of ethical and political consideration work more as a filmed theater piece than as realistic cinema.\u003c/p>\n\u003cp>But as its engine the movie has the action in Kenya, where there’s little talk, and all of it is pragmatic. People haggle over bread, unaware of the larger bargain being negotiated across three other continents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eye in the Sky\u003c/em> — like Hood’s previous film, \u003cem>Ender’s Game\u003c/em> — has lots of CGI and green-screen work. But this time the director employs special effects only to show things that could happen, and technology that really exists, in places that haven’t quite caught up to the deadly implications. Those places would include, well, everywhere on Earth.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 607,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705044826,
"excerpt": "Drone warfare forms the backbone of 'Eye In The Sky,' starring Helen Mirren as a British military officer arguing over the messy ethics of collateral damage.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Drone warfare forms the backbone of 'Eye In The Sky,' starring Helen Mirren as a British military officer arguing over the messy ethics of collateral damage.",
"title": "A War Seen In Unnerving Close-Up from 'Eye in the Sky' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A War Seen In Unnerving Close-Up from 'Eye in the Sky'",
"datePublished": "2016-03-18T07:00:56-07:00",
"dateModified": "2024-01-11T23:33:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=469647984&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 10 Mar 2016 17:00:00 -0500",
"nprLastModifiedDate": "Thu, 10 Mar 2016 17:42:13 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/03/10/469647984/a-war-seen-in-unnerving-close-up?ft=nprml&f=469647984",
"nprImageAgency": "Bleecker Street",
"nprImageCredit": "Keith Bernstein",
"nprStoryId": "469647984",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Mar 2016 17:42:00 -0500",
"path": "/arts/11412346/a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>A War\u003c/em>, a Danish commander whose troops are under attack by the Taliban calls in an air strike, and later has to answer for it in a courtroom. \u003cem>Eye in the Sky\u003c/em> mashes those two narratives together. While a drone pilot in Nevada prepares to hit al-Shabaab terrorists in Nairobi, the morality of this potential action is debated by politicos in London.\u003c/p>\n\u003cp>The movie is both provocative and fairly gripping, if not altogether convincing. As directed by Gavin Hood, a South African whose \u003cem>Rendition\u003c/em> took a broader and more melodramatic look at Western responses to extremist violence, \u003cem>Eye in the Sky\u003c/em> neatly contrasts urgency and hesitation, and pits near-certainty against reasonable doubt.\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/zoBk3e9fFPU'\n title='//www.youtube.com/embed/zoBk3e9fFPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the structure provided by writer Guy Hibbert, whose script essentially interlaces a thriller with a courtroom drama. The story begins with a Muslim family in Kenya and a military officer in Britain. Col. Powell (Helen Mirren) has long tracked a U.K.-born woman who married a Somali man suspected of terrorism and converted to his brand of Islam. The family’s young daughter, Alia (Aisha Tashow), is about to get in the colonel’s way.\u003c/p>\n\u003cp>Powell and her small crew of technicians, no-nonsense except for their unnecessary camouflage uniforms, can’t do the job alone. The American drone operator (Aaron Paul) and other U.S. military personnel are in the electronic loop. Their cooperation becomes essential after the colonel peeks inside a house via bird- and insect-mimicking drones that may be a bit cuter than their real-life equivalents. Powell determines that her targets are about to undertake a suicide bombing, so she wants to kill them first. Only the Yanks have the means to do that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The process quickly gets lawyered up. There’s an attorney to offer cautions at the base where Powell works, and British Lt. Gen. Benson (the late Alan Rickman) heads to a cabinet briefing room to consult with legalistic politicians. Soon, they’ve got the foreign secretary on the video-phone from Singapore. The stalling irritates Powell and Benson (and Rickman was a master of exasperation).\u003c/p>\n\u003cp>The talking heads are physically detached from the situation, but the British have a man on the ground in Kenya, Jama (Somalia-born Barkhad Abdi, who played the pirate leader in \u003cem>Captain Phillips\u003c/em>). He’s assigned to move Alia, who’s selling loaves of bread, away from the house the British want to bomb. That turns out to be tricky, and so chubby-cheeked Alia becomes the human face of possible collateral damage.\u003c/p>\n\u003cp>All the live video provides an intimacy new to missile attacks. The Britons have seen in closeup the innocent girl they might slay. Still, they devote an implausible amount of time to discussing the quandary, and some moments of American reluctance seem even more unlikely. These scenes of ethical and political consideration work more as a filmed theater piece than as realistic cinema.\u003c/p>\n\u003cp>But as its engine the movie has the action in Kenya, where there’s little talk, and all of it is pragmatic. People haggle over bread, unaware of the larger bargain being negotiated across three other continents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eye in the Sky\u003c/em> — like Hood’s previous film, \u003cem>Ender’s Game\u003c/em> — has lots of CGI and green-screen work. But this time the director employs special effects only to show things that could happen, and technology that really exists, in places that haven’t quite caught up to the deadly implications. Those places would include, well, everywhere on Earth.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11412346/a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"authors": [
"byline_arts_11412346"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11412351",
"label": "arts_137"
},
"arts_11406035": {
"type": "posts",
"id": "arts_11406035",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11406035",
"score": null,
"sort": [
1458241234000
]
},
"guestAuthors": [],
"slug": "new-dogpatch-arts-complex-fuels-hope-amid-evictions-and-closures",
"title": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures",
"publishDate": 1458241234,
"format": "standard",
"headTitle": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>[contextly_sidebar id=”AbpyaCxDT6lRRG4ZI4qkrmemNIvEAssV”]The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Galleries are optimistic about Minnesota Street Complex, the privately funded arts complex opening this week in San Francisco's Dogpatch neighborhood.",
"status": "publish",
"parent": 0,
"modified": 1764894668,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1082
},
"headData": {
"title": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures | KQED",
"description": "Galleries are optimistic about Minnesota Street Complex, the privately funded arts complex opening this week in San Francisco's Dogpatch neighborhood.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures",
"datePublished": "2016-03-17T12:00:34-07:00",
"dateModified": "2025-12-04T16:31:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 235,
"slug": "news",
"name": "News"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/11406035/new-dogpatch-arts-complex-fuels-hope-amid-evictions-and-closures",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\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>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11406035/new-dogpatch-arts-complex-fuels-hope-amid-evictions-and-closures",
"authors": [
"187"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_3181",
"arts_22219",
"arts_596",
"arts_769"
],
"featImg": "arts_11406037",
"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=review": {
"isFetching": false,
"latestQuery": {
"from": 1272,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1590,
"relation": "eq"
},
"items": [
"arts_11445936",
"arts_11428904",
"arts_11431310",
"arts_11426947",
"arts_11430961",
"arts_11423317",
"arts_11428541",
"arts_11422332",
"arts_11416241",
"arts_11414781",
"arts_11412346",
"arts_11406035"
],
"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_review": {
"isLoading": true
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_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_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_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_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_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_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_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_3181": {
"type": "terms",
"id": "arts_3181",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3181",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hung Liu",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hung Liu Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3193,
"slug": "hung-liu",
"isLoading": false,
"link": "/arts/tag/hung-liu"
},
"arts_22219": {
"type": "terms",
"id": "arts_22219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22219",
"found": true
},
"relationships": {},
"name": "Minnesota Street Project",
"slug": "minnesota-street-project",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Minnesota Street Project | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22231,
"isLoading": false,
"link": "/arts/tag/minnesota-street-project"
}
},
"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": {}
}
}
}