Tessa recently graduated from UC Berkeley, where she studied Rhetoric. Her work has appeared in The East Bay Express, The Daily Californian, Politico, UWire and Carmel Magazine, and she likes to keep things pithy.
By Tessa Stuart
Soundwave Festival
Thee Oh Sees: Warm Slime
Men Think They are Better Than Grass
The Lysistrata Project
MGMT: Congratulations
The African Continuum: Sacred Ceremonies and Rituals
Best Laid Plans: Foreclosure USA and Infix at SFMOMA Artists Gallery
Champagne Wishes and Cartier Dreams
Nick Cave: Meet Me at the Center of the Earth
Player sponsored by
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_10030044": {
"type": "attachments",
"id": "arts_10030044",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10030044",
"found": true
},
"parent": 30044,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/soundwavefest-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/06/soundwavefest-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1275960268,
"modified": 1275960268,
"caption": null,
"description": null,
"title": "Soundwave Festival-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029518": {
"type": "attachments",
"id": "arts_10029518",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029518",
"found": true
},
"parent": 29518,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/thee-oh-sees-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/thee-oh-sees-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/thee-oh-sees-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/thee-oh-sees-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/thee-oh-sees-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/thee-oh-sees-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1273533998,
"modified": 1273533998,
"caption": null,
"description": null,
"title": "Thee Oh Sees: Warm Slime-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10029402": {
"type": "attachments",
"id": "arts_10029402",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10029402",
"found": true
},
"parent": 29402,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/men-think-248x1406.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/05/men-think-248x1406-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1273094883,
"modified": 1273094883,
"caption": null,
"description": null,
"title": "Men Think They are Better Than Grass-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028897": {
"type": "attachments",
"id": "arts_10028897",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028897",
"found": true
},
"parent": 28897,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/lysistrata-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/lysistrata-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/lysistrata-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/lysistrata-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/lysistrata-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/lysistrata-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1271124043,
"modified": 1271124043,
"caption": null,
"description": null,
"title": "The Lysistrata Project-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028815": {
"type": "attachments",
"id": "arts_10028815",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028815",
"found": true
},
"parent": 28815,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/congratulations-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/congratulations-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/congratulations-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/congratulations-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/congratulations-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/04/congratulations-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1270688986,
"modified": 1270688986,
"caption": null,
"description": null,
"title": "MGMT: Congratulations-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10028507": {
"type": "attachments",
"id": "arts_10028507",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10028507",
"found": true
},
"parent": 28507,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/africa-rituals-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/africa-rituals-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/africa-rituals-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/africa-rituals-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/africa-rituals-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/03/africa-rituals-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1269376531,
"modified": 1269376531,
"caption": null,
"description": null,
"title": "The African Continuum: Sacred Ceremonies and Rituals-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10027760": {
"type": "attachments",
"id": "arts_10027760",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10027760",
"found": true
},
"parent": 27760,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/crippens-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2010/02/crippens-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1265750081,
"modified": 1265750081,
"caption": null,
"description": null,
"title": "Best Laid Plans: Foreclosure USA and Infix at SFMOMA Artists Gallery-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10027004": {
"type": "attachments",
"id": "arts_10027004",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10027004",
"found": true
},
"parent": 27004,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/12/cartier-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/12/cartier-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1261444183,
"modified": 1261444183,
"caption": null,
"description": null,
"title": "Champagne Wishes and Cartier Dreams-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10024764": {
"type": "attachments",
"id": "arts_10024764",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10024764",
"found": true
},
"parent": 24764,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/05/soundsuits-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/05/soundsuits-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/05/soundsuits-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/05/soundsuits-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/05/soundsuits-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2009/05/soundsuits-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1243640846,
"modified": 1243640846,
"caption": null,
"description": null,
"title": "Nick Cave: Meet Me at the Center of the Earth-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"tstuart": {
"type": "authors",
"id": "39",
"meta": {
"index": "authors_1716337520",
"id": "39",
"found": true
},
"name": "Tessa Stuart",
"firstName": "Tessa",
"lastName": "Stuart",
"slug": "tstuart",
"email": "FAKE_tstuart@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Tessa recently graduated from UC Berkeley, where she studied Rhetoric. Her work has appeared in \u003ci>The East Bay Express\u003c/i>, \u003ci>The Daily Californian\u003c/i>, Politico, UWire and \u003ci>Carmel Magazine\u003c/i>, and she likes to keep things pithy.",
"avatar": "https://secure.gravatar.com/avatar/98ae1cb0c7b0e0cc101a829c50b7d2cf?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Tessa Stuart | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/98ae1cb0c7b0e0cc101a829c50b7d2cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/98ae1cb0c7b0e0cc101a829c50b7d2cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/tstuart"
}
},
"pagesReducer": {
"author_tstuart": {
"type": "pages",
"id": "39",
"meta": {
"index": "authors_1716337520",
"id": "39",
"score": 6.9255953,
"site": "authors"
},
"name": "Tessa Stuart",
"firstName": "Tessa",
"lastName": "Stuart",
"slug": "tstuart",
"email": "FAKE_tstuart@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Tessa recently graduated from UC Berkeley, where she studied Rhetoric. Her work has appeared in \u003ci>The East Bay Express\u003c/i>, \u003ci>The Daily Californian\u003c/i>, Politico, UWire and \u003ci>Carmel Magazine\u003c/i>, and she likes to keep things pithy.",
"avatar": "https://secure.gravatar.com/avatar/98ae1cb0c7b0e0cc101a829c50b7d2cf?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {},
"isLoading": false,
"hasAllInfo": true,
"blocks": [
{
"blockName": "kqed/staff-member",
"attrs": {
"author": {
"type": "authors",
"id": "39",
"meta": {
"index": "authors_1716337520",
"id": "39",
"score": 6.9255953
},
"name": "Tessa Stuart",
"firstName": "Tessa",
"lastName": "Stuart",
"slug": "tstuart",
"email": "FAKE_tstuart@kqed.org",
"display_author_email": false,
"staff_mastheads": "[Circular]",
"title": null,
"bio": "Tessa recently graduated from UC Berkeley, where she studied Rhetoric. Her work has appeared in \u003ci>The East Bay Express\u003c/i>, \u003ci>The Daily Californian\u003c/i>, Politico, UWire and \u003ci>Carmel Magazine\u003c/i>, and she likes to keep things pithy.",
"avatar": "https://secure.gravatar.com/avatar/98ae1cb0c7b0e0cc101a829c50b7d2cf?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": "[Circular]",
"headData": {
"title": "Tessa Stuart | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/98ae1cb0c7b0e0cc101a829c50b7d2cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/98ae1cb0c7b0e0cc101a829c50b7d2cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/tstuart",
"hasAllInfo": true
}
}
},
{
"blockName": "kqed/post-list",
"attrs": {
"query": "posts?author=39&authorName=Tessa Stuart",
"title": "By Tessa Stuart",
"layout": "cardArticle2",
"className": "wp-block--nomargintop",
"seeMore": true
}
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_30044": {
"type": "posts",
"id": "arts_30044",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "30044",
"score": null,
"sort": [
1275960268000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1275960268,
"format": "standard",
"title": "Soundwave Festival",
"headTitle": "Soundwave Festival | KQED",
"content": "\u003cp>The animals knew something was amiss as the fog rolled over the Marin Headlands on Sunday. Strange noises echoed out of an abandoned WWII fortification hollowed into the hillside above Rodeo Beach. A fox poked around in the long grass just outside, looking with a mix of interest and confusion in the direction of the concrete bunker; hunkered down inside was a motley crew of 75 experimental music enthusiasts and some curious individuals just along for the sonic adventure.\u003c/p>\n\u003cp>The audience had made a 20-minute trek up into the hills for \u003cb>Resonance at Battery Townsley\u003c/b>, the kick-off event for this year’s Soundwave Festival. This will be the fourth edition of the Soundwave Festival, a series of experimental music events that stretches over two months every other summer in San Francisco. The theme of this year’s fest is “Green Sound.” Accordingly, artists have created pieces inspired by, and interacting with, the natural world.\u003c/p>\n\u003cp>\u003cb>Resonance at Battery Townsley\u003c/b> featured performances by four musicians commissioned to produce site-specific pieces harnessing the acoustics of Battery Townsley, an artillery casement built in 1938. Once a fully-equipped gunnery capable of assailing a target 25 miles out at sea, Battery Townsley is now maintained by the National Park Service. Armed with an assortment of boom-boxes and tape-recorders, Oakland-based sound artist Gregg Kowalsky orchestrated elegant, almost hypnotic, loops that reverberated viscerally around the audience, who were seated in neat rows of three down the center of the tunnel. Jacob Felix Heule and Kanoko Nishi stormed the tunnel with an incredibly cinematic improvisational duet; Heule worked on an improvised drum kit and Nishi on the koto, a Japanese zither.\u003c/p>\n\u003cp>Fog billowed around San Francisco guitarist Danny Paul Grody, who sat on a perch looking over the Pacific in the final performance of the evening. As Grody mixed and re-layered loops of feedback alternately from electric and acoustic guitars, swallows darted in and out of the battery circling the audience in such perfect sync with the music it was as if Grody had choreographed their movements.\u003c/p>\n\u003cp>If you weren’t able to make it on Sunday, a second performance at Battery Townsley, \u003cb>Viscera\u003c/b>, will be held August 1. This weekend features two events: \u003cb>Unweathered Embers\u003c/b> (June 12, 7pm) will showcase the acoustics of St. Mark’s Lutheran Church with Baltic-inspired chamber music, and Bay Area Sound Ecology will create an artificial soundscape for a performance called \u003cb>Phantom Power\u003c/b> (June 12, 7pm) over at Yerba Buena Gardens. All told, the Soundwave Festival will feature 75 artists in 18 events at locations around the Bay Area, from the Marin Headlands to the Mission District and the deYoung Museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Soundwave Festival runs through August 13, 2010 at locations around the Bay Area. For \u003ca href=\"http://www.projectsoundwave.com\">tickets and information\u003c/a> visit projectsoundwave.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 476,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052098,
"excerpt": "The theme of this year's Soundwave Festival is \"Green Sound.\" Accordingly, artists have created pieces inspired by, and interacting with, the natural world.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The theme of this year's Soundwave Festival is "Green Sound." Accordingly, artists have created pieces inspired by, and interacting with, the natural world.",
"title": "Soundwave Festival | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Soundwave Festival",
"datePublished": "2010-06-07T18:24:28-07:00",
"dateModified": "2024-01-12T01:34:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "soundwave_festival",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/",
"sticky": false,
"path": "/arts/30044/soundwave_festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The animals knew something was amiss as the fog rolled over the Marin Headlands on Sunday. Strange noises echoed out of an abandoned WWII fortification hollowed into the hillside above Rodeo Beach. A fox poked around in the long grass just outside, looking with a mix of interest and confusion in the direction of the concrete bunker; hunkered down inside was a motley crew of 75 experimental music enthusiasts and some curious individuals just along for the sonic adventure.\u003c/p>\n\u003cp>The audience had made a 20-minute trek up into the hills for \u003cb>Resonance at Battery Townsley\u003c/b>, the kick-off event for this year’s Soundwave Festival. This will be the fourth edition of the Soundwave Festival, a series of experimental music events that stretches over two months every other summer in San Francisco. The theme of this year’s fest is “Green Sound.” Accordingly, artists have created pieces inspired by, and interacting with, the natural world.\u003c/p>\n\u003cp>\u003cb>Resonance at Battery Townsley\u003c/b> featured performances by four musicians commissioned to produce site-specific pieces harnessing the acoustics of Battery Townsley, an artillery casement built in 1938. Once a fully-equipped gunnery capable of assailing a target 25 miles out at sea, Battery Townsley is now maintained by the National Park Service. Armed with an assortment of boom-boxes and tape-recorders, Oakland-based sound artist Gregg Kowalsky orchestrated elegant, almost hypnotic, loops that reverberated viscerally around the audience, who were seated in neat rows of three down the center of the tunnel. Jacob Felix Heule and Kanoko Nishi stormed the tunnel with an incredibly cinematic improvisational duet; Heule worked on an improvised drum kit and Nishi on the koto, a Japanese zither.\u003c/p>\n\u003cp>Fog billowed around San Francisco guitarist Danny Paul Grody, who sat on a perch looking over the Pacific in the final performance of the evening. As Grody mixed and re-layered loops of feedback alternately from electric and acoustic guitars, swallows darted in and out of the battery circling the audience in such perfect sync with the music it was as if Grody had choreographed their movements.\u003c/p>\n\u003cp>If you weren’t able to make it on Sunday, a second performance at Battery Townsley, \u003cb>Viscera\u003c/b>, will be held August 1. This weekend features two events: \u003cb>Unweathered Embers\u003c/b> (June 12, 7pm) will showcase the acoustics of St. Mark’s Lutheran Church with Baltic-inspired chamber music, and Bay Area Sound Ecology will create an artificial soundscape for a performance called \u003cb>Phantom Power\u003c/b> (June 12, 7pm) over at Yerba Buena Gardens. All told, the Soundwave Festival will feature 75 artists in 18 events at locations around the Bay Area, from the Marin Headlands to the Mission District and the deYoung Museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Soundwave Festival runs through August 13, 2010 at locations around the Bay Area. For \u003ca href=\"http://www.projectsoundwave.com\">tickets and information\u003c/a> visit projectsoundwave.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/30044/soundwave_festival",
"authors": [
"39"
],
"categories": [
"arts_69"
],
"featImg": "arts_10030044",
"label": "arts"
},
"arts_29518": {
"type": "posts",
"id": "arts_29518",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29518",
"score": null,
"sort": [
1273533998000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1273533998,
"format": "standard",
"title": "Thee Oh Sees: Warm Slime",
"headTitle": "Thee Oh Sees: Warm Slime | KQED",
"content": "\u003cp>Whatever you want to call them, at present they prefer Thee Oh Sees, but that’s really subject to change at any moment (they’ve been The Ohsees, OCS, Orange County Sound and Orinoka Crash Suite in the past), one thing you have to appreciate about the San Francisco band is the sheer \u003ci>volume\u003c/i> of their work. They produce the kind of hyperactive, reverb-bleeding garage rock that you want to listen to turned all the way up to 11. And they produce a lot of it. \u003cb>Warm Slime\u003c/b>, out Tuesday, May 11, 2010, is the band’s eleventh full-length album (that number doesn’t include an additional six EPs and seven 7-inches).\u003c/p>\n\u003cp>With that much music to their name, Thee Oh Sees have certainly earned the right to call themselves whatever they want. The band started life as an experimental outlet for lead singer John Dwyer, who has fronted a number of other projects, including Pink and Brown and the Coachwhips, and it continues to push itself to occupy different musical spaces. The band has taken a variety of forms over the years, but it currently consists of four members — Dwyer, who plays guitar and provides the majority of the (largely unintelligible) vocals, Brigid Dawson, who contributes supporting vocals and plays the keyboard, Petey Dammit on guitar, and Mike Shoun on drums.\u003c/p>\n\u003cp>Like the band itself, their eleventh studio-album is something of a shape-shifter. It opens with a title track that clocks in at an impressive \u003ci>thirteen\u003c/i> minutes and thirty seconds. “Warm Slime” starts with a whistle, before descending with a crash into two buzzy guitar-driven minutes, punctured at intervals with a howling refrain. Around minute three it begins to slow, elements gradually fading into the background until there is only a whispery chant to a soft tapping. The song picks up again, slows again, picks up again, slows it down once more — all the while treating the listener to a rollicking, detail-filled aural experience.\u003c/p>\n\u003cp>When the first track comes to a close, you might start to wonder what the band could still have up its sleeve. Not to worry, \u003cb>Warm Slime\u003c/b> has a few other treats in store — the clangy, jangly delight “I Was Denied;” the lovely, howly, military-march “Everything Went Black;” and “Castiatic Tackle,” a surf-rock piece that recalls The Surfari’s 1962 class “Wipe Out,” just in time for summer.\u003c/p>\n\u003cp>\u003cb>Warm Slime\u003c/b> is out May 11. For \u003ca href=\"http://www.myspace.com/ohsees\">tour-dates and more information\u003c/a> visit Thee Oh Sees on Myspace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 440,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705052151,
"excerpt": "One thing you have to appreciate about San Francisco's Thee Oh Sees is the sheer \u003ci>volume\u003c/i> of their work.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "One thing you have to appreciate about San Francisco's Thee Oh Sees is the sheer volume of their work.",
"title": "Thee Oh Sees: Warm Slime | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Thee Oh Sees: Warm Slime",
"datePublished": "2010-05-10T16:26:38-07:00",
"dateModified": "2024-01-12T01:35:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "thee_oh_sees_warm_slime",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/29518/thee_oh_sees_warm_slime",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whatever you want to call them, at present they prefer Thee Oh Sees, but that’s really subject to change at any moment (they’ve been The Ohsees, OCS, Orange County Sound and Orinoka Crash Suite in the past), one thing you have to appreciate about the San Francisco band is the sheer \u003ci>volume\u003c/i> of their work. They produce the kind of hyperactive, reverb-bleeding garage rock that you want to listen to turned all the way up to 11. And they produce a lot of it. \u003cb>Warm Slime\u003c/b>, out Tuesday, May 11, 2010, is the band’s eleventh full-length album (that number doesn’t include an additional six EPs and seven 7-inches).\u003c/p>\n\u003cp>With that much music to their name, Thee Oh Sees have certainly earned the right to call themselves whatever they want. The band started life as an experimental outlet for lead singer John Dwyer, who has fronted a number of other projects, including Pink and Brown and the Coachwhips, and it continues to push itself to occupy different musical spaces. The band has taken a variety of forms over the years, but it currently consists of four members — Dwyer, who plays guitar and provides the majority of the (largely unintelligible) vocals, Brigid Dawson, who contributes supporting vocals and plays the keyboard, Petey Dammit on guitar, and Mike Shoun on drums.\u003c/p>\n\u003cp>Like the band itself, their eleventh studio-album is something of a shape-shifter. It opens with a title track that clocks in at an impressive \u003ci>thirteen\u003c/i> minutes and thirty seconds. “Warm Slime” starts with a whistle, before descending with a crash into two buzzy guitar-driven minutes, punctured at intervals with a howling refrain. Around minute three it begins to slow, elements gradually fading into the background until there is only a whispery chant to a soft tapping. The song picks up again, slows again, picks up again, slows it down once more — all the while treating the listener to a rollicking, detail-filled aural experience.\u003c/p>\n\u003cp>When the first track comes to a close, you might start to wonder what the band could still have up its sleeve. Not to worry, \u003cb>Warm Slime\u003c/b> has a few other treats in store — the clangy, jangly delight “I Was Denied;” the lovely, howly, military-march “Everything Went Black;” and “Castiatic Tackle,” a surf-rock piece that recalls The Surfari’s 1962 class “Wipe Out,” just in time for summer.\u003c/p>\n\u003cp>\u003cb>Warm Slime\u003c/b> is out May 11. For \u003ca href=\"http://www.myspace.com/ohsees\">tour-dates and more information\u003c/a> visit Thee Oh Sees on Myspace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29518/thee_oh_sees_warm_slime",
"authors": [
"39"
],
"categories": [
"arts_69"
],
"featImg": "arts_10029518",
"label": "arts"
},
"arts_29402": {
"type": "posts",
"id": "arts_29402",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "29402",
"score": null,
"sort": [
1273094883000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1273094883,
"format": "standard",
"title": "Men Think They are Better Than Grass",
"headTitle": "Men Think They are Better Than Grass | KQED",
"content": "\u003cp>\u003cb>Men Think They are Better Than Grass\u003c/b>, a new performance created by the Deborah Slater Dance Theater, takes its title and inspiration from a number of poems by the deep ecologist W.S. Merwin. The central idea behind deep ecology is that humans should not feel an entitlement toward the environment. Instead, deep ecologists argue, humans should consider themselves as just one factor in a dynamic, closed system, and accept that they do not have the right to interfere with the environment except to satisfy basic needs.\u003c/p>\n\u003cp>Part of what is impressive about \u003cb>Men Think They Are Better Than Grass\u003c/b> is how fully the dance company was able to create a performance that embodies the closed system concept that deep ecologists speak of. Dancers perform to the sound of Merwin’s poems read aloud by different voices, some of which (like KQED’s own Michael Krasny, holler!) might be familiar. At the same time a host of other elements — an original score, environmental sounds, lighting design, and video projected throughout the performance — create a closed system of their own, and each element within the system feeds back on the others: the words on the music, the dancers on the words, the light on the dancers.\u003c/p>\n\u003cp>Swathes of blue cloth hang from the ceiling. A few small potted plants occupy the corners of the room. A large translucent bowl catches a steady drip of water throughout the show. When the dancers arrive on stage, dressed in pinstripes, carrying briefcases and stomping hurriedly at right angles, light shines on the blue swathes, revealing them as sheets of plastic. The plastic later becomes a character in the performance; sheets curl up to the ceiling with an effect similar to burning, others fall to the ground, entangling the dancers. The show is remarkably effective at subtle suggestion without patronizing the audience, and the plastic is one example.\u003c/p>\n\u003cp>\u003cb>Men Think\u003c/b> was two years in development — and it shows. From the set and the lighting design, the poems and the voices that read them, even the site of the staging, with its rough-hewn wooden floors, every single detail is meticulously selected, designed, and interwoven to maximum effect. At times, though, the layering of so many elements makes it difficult to choose where to focus your attention. While the performance can be viewed as an interesting analogy to the A.D.D. way many of us live our lives today, the show walks a fine line between stimulation and inundation.\u003c/p>\n\u003cp>While there are a number of elements at work in \u003cb>Men Think They Are Better Than Grass\u003c/b>, the most fascinating is the interaction between poetry and dance. I wasn’t immediately sold on the idea of choreographing dance to poetry rather than (or sometimes in addition to) music. The more I thought about it though, the more natural the pairing seemed — poetry manipulates language, a tool we employ everyday, to express concepts or ideas in new ways. Dance does the same, exposing the possibilities of movement, with bodies as its raw material. In the end, it was the pliability of language and bodies highlighted by the performance that stuck with me. It left me optimistic about the power of human ingenuity, with particular regard to the show’s central theme, our realtionship with the environment. If we can think up new ways to do things with our words and our bodies, solutions to our other problems can’t be far off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Men Think They Are Better Than Grass\u003c/b> runs through May 9, 2010 at Theater Artaud, 450 Florida Street in San Francisco. Performances are at 8pm Thursday through Saturday, and 5pm Sunday. For \u003ca href=\"http://www.deborahslater.org/\">tickets and information\u003c/a> visit DeborahSlater.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 625,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052163,
"excerpt": "What is impressive about \u003cb>Men Think They Are Better Than Grass\u003c/b> is how fully the dance company was able to create a performance that embodies the closed system concept that deep ecologists speak of.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "What is impressive about Men Think They Are Better Than Grass is how fully the dance company was able to create a performance that embodies the closed system concept that deep ecologists speak of.",
"title": "Men Think They are Better Than Grass | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Men Think They are Better Than Grass",
"datePublished": "2010-05-05T14:28:03-07:00",
"dateModified": "2024-01-12T01:36:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "men_think_they_are_better_than_grass",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/performance/performance-review/",
"sticky": false,
"path": "/arts/29402/men_think_they_are_better_than_grass",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Men Think They are Better Than Grass\u003c/b>, a new performance created by the Deborah Slater Dance Theater, takes its title and inspiration from a number of poems by the deep ecologist W.S. Merwin. The central idea behind deep ecology is that humans should not feel an entitlement toward the environment. Instead, deep ecologists argue, humans should consider themselves as just one factor in a dynamic, closed system, and accept that they do not have the right to interfere with the environment except to satisfy basic needs.\u003c/p>\n\u003cp>Part of what is impressive about \u003cb>Men Think They Are Better Than Grass\u003c/b> is how fully the dance company was able to create a performance that embodies the closed system concept that deep ecologists speak of. Dancers perform to the sound of Merwin’s poems read aloud by different voices, some of which (like KQED’s own Michael Krasny, holler!) might be familiar. At the same time a host of other elements — an original score, environmental sounds, lighting design, and video projected throughout the performance — create a closed system of their own, and each element within the system feeds back on the others: the words on the music, the dancers on the words, the light on the dancers.\u003c/p>\n\u003cp>Swathes of blue cloth hang from the ceiling. A few small potted plants occupy the corners of the room. A large translucent bowl catches a steady drip of water throughout the show. When the dancers arrive on stage, dressed in pinstripes, carrying briefcases and stomping hurriedly at right angles, light shines on the blue swathes, revealing them as sheets of plastic. The plastic later becomes a character in the performance; sheets curl up to the ceiling with an effect similar to burning, others fall to the ground, entangling the dancers. The show is remarkably effective at subtle suggestion without patronizing the audience, and the plastic is one example.\u003c/p>\n\u003cp>\u003cb>Men Think\u003c/b> was two years in development — and it shows. From the set and the lighting design, the poems and the voices that read them, even the site of the staging, with its rough-hewn wooden floors, every single detail is meticulously selected, designed, and interwoven to maximum effect. At times, though, the layering of so many elements makes it difficult to choose where to focus your attention. While the performance can be viewed as an interesting analogy to the A.D.D. way many of us live our lives today, the show walks a fine line between stimulation and inundation.\u003c/p>\n\u003cp>While there are a number of elements at work in \u003cb>Men Think They Are Better Than Grass\u003c/b>, the most fascinating is the interaction between poetry and dance. I wasn’t immediately sold on the idea of choreographing dance to poetry rather than (or sometimes in addition to) music. The more I thought about it though, the more natural the pairing seemed — poetry manipulates language, a tool we employ everyday, to express concepts or ideas in new ways. Dance does the same, exposing the possibilities of movement, with bodies as its raw material. In the end, it was the pliability of language and bodies highlighted by the performance that stuck with me. It left me optimistic about the power of human ingenuity, with particular regard to the show’s central theme, our realtionship with the environment. If we can think up new ways to do things with our words and our bodies, solutions to our other problems can’t be far off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Men Think They Are Better Than Grass\u003c/b> runs through May 9, 2010 at Theater Artaud, 450 Florida Street in San Francisco. Performances are at 8pm Thursday through Saturday, and 5pm Sunday. For \u003ca href=\"http://www.deborahslater.org/\">tickets and information\u003c/a> visit DeborahSlater.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/29402/men_think_they_are_better_than_grass",
"authors": [
"39"
],
"categories": [
"arts_966"
],
"featImg": "arts_10029402",
"label": "arts"
},
"arts_28897": {
"type": "posts",
"id": "arts_28897",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28897",
"score": null,
"sort": [
1271124043000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1271124043,
"format": "standard",
"title": "The Lysistrata Project",
"headTitle": "The Lysistrata Project | KQED",
"content": "\u003cp>The heroine of Aristophanes’ fifth century comedy \u003cb>Lysistrata\u003c/b> convinces women from warring Sparta and Troy to withhold sex from their husbands until they end the Peloponnesian War. \u003cb>The Lysistrata Project\u003c/b>, a work-in-development staged by San Francisco’s Crowded Theater Company, is a riff on the theme based in fifties suburban America. In this version, a pirate radio personality encourages suburban housewives to exploit their domesticity rather than their sexuality — telling her listeners at the end of one transmission they can find her next time by tuning their dial to the same number as the best recipe for the apple pie in Betty Crocker — to incite a feminist awakening.\u003c/p>\n\u003cp>Crowded Fire Theater, now in its 13th season, has earned a reputation as an institution for experimental theater, staging performances like this one, which was created by their thirteen resident artists in a development program called the Matchbox Theater. Elana McKernan, the author of \u003cb>The Lysistrata Project\u003c/b>, started as an intern with the company before becoming a resident, and worked with Crowded Fire’s Artistic Director, Marissa Wolf, while developing the play.\u003c/p>\n\u003cp>When you enter the Berkeley residence that has been taken over for the staging of this site-specific production, you might have to pause to re-gain your bearings. It is 1958 \u003ci>and\u003c/i> 2010; on the stairs to your left and in the parlor to your right are women in aprons and men in sport coats, intermixed among others dressed not so differently from yourself. Head through to the kitchen, and you will find a housewife serving up slices of pie, and — if you get lost for a moment savoring the flaky crust (go ahead, it’s okay) — you might forget that you are in the middle of a performance piece. That is, until the woman’s husband walks past you, loosening his collar, and greets her with a “Honey, I’m home!? before retreating to the parlor (for a gin, presumably). In that moment, squished between the refrigerator and the pantry, you get the first taste of a feeling that will become familiar before the night is over, as though you are a trespasser in someone’s home, witness to their most personal moments.\u003c/p>\n\u003cp>\u003cb>The Lysistrata Project\u003c/b> is choose-your-own-adventure theatre: when you purchase your ticket, you select one of three characters to follow. Literally — through the house, from the kitchen to the bedroom, the parlor, back to the kitchen… The audience is split into three groups, each observing the personal story of one of three housewives: Linda, Cindy, and Karen. Linda is mourning the loss of her husband (finding comfort in the arms of a number of different men); Cindy is the consummate homemaker, but laboring in a loveless marriage; Karen is struggling to find her place in a restrictive suburban life she feels at odds with.\u003c/p>\n\u003cp>The play wrestles with some heavy issues — sexism, xenophobia, censorship — in a way that might have felt heavy-handed in a more traditional theater setting, but this intimate space, sitting in someone’s kitchen, watching as these issues play out in daily life reaffirms their continued relevance. Or, maybe the pie is so good it doesn’t even matter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Lysistrata Project\u003c/b> runs through April 23, with performances at 8pm, Thursday through Saturday at \u003ca href=\"http://www.mapquest.com/maps?city=Berkeley&state=CA&address=2836+Regent+St&zipcode=94705-2134&country=US&latitude=37.85842&longitude=-122.25689&geocode=ADDRESS\">The Regent House\u003c/a> in Berkeley. Performances are Thursday through Saturday at 8pm. For \u003ca href=\"http://crowdedfire.org/\">tickets and information\u003c/a> visit crowdedFire.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 586,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052207,
"excerpt": "The heroine of Aristophanes' fifth century comedy \u003cb>Lysistrata\u003c/b> convinces women from warring Sparta and Troy to withhold sex from their husbands until they end the Peloponnesian War. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The heroine of Aristophanes' fifth century comedy Lysistrata convinces women from warring Sparta and Troy to withhold sex from their husbands until they end the Peloponnesian War. ",
"title": "The Lysistrata Project | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Lysistrata Project",
"datePublished": "2010-04-12T19:00:43-07:00",
"dateModified": "2024-01-12T01:36:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_lysistrata_project",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/performance/performance-review/",
"sticky": false,
"path": "/arts/28897/the_lysistrata_project",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The heroine of Aristophanes’ fifth century comedy \u003cb>Lysistrata\u003c/b> convinces women from warring Sparta and Troy to withhold sex from their husbands until they end the Peloponnesian War. \u003cb>The Lysistrata Project\u003c/b>, a work-in-development staged by San Francisco’s Crowded Theater Company, is a riff on the theme based in fifties suburban America. In this version, a pirate radio personality encourages suburban housewives to exploit their domesticity rather than their sexuality — telling her listeners at the end of one transmission they can find her next time by tuning their dial to the same number as the best recipe for the apple pie in Betty Crocker — to incite a feminist awakening.\u003c/p>\n\u003cp>Crowded Fire Theater, now in its 13th season, has earned a reputation as an institution for experimental theater, staging performances like this one, which was created by their thirteen resident artists in a development program called the Matchbox Theater. Elana McKernan, the author of \u003cb>The Lysistrata Project\u003c/b>, started as an intern with the company before becoming a resident, and worked with Crowded Fire’s Artistic Director, Marissa Wolf, while developing the play.\u003c/p>\n\u003cp>When you enter the Berkeley residence that has been taken over for the staging of this site-specific production, you might have to pause to re-gain your bearings. It is 1958 \u003ci>and\u003c/i> 2010; on the stairs to your left and in the parlor to your right are women in aprons and men in sport coats, intermixed among others dressed not so differently from yourself. Head through to the kitchen, and you will find a housewife serving up slices of pie, and — if you get lost for a moment savoring the flaky crust (go ahead, it’s okay) — you might forget that you are in the middle of a performance piece. That is, until the woman’s husband walks past you, loosening his collar, and greets her with a “Honey, I’m home!? before retreating to the parlor (for a gin, presumably). In that moment, squished between the refrigerator and the pantry, you get the first taste of a feeling that will become familiar before the night is over, as though you are a trespasser in someone’s home, witness to their most personal moments.\u003c/p>\n\u003cp>\u003cb>The Lysistrata Project\u003c/b> is choose-your-own-adventure theatre: when you purchase your ticket, you select one of three characters to follow. Literally — through the house, from the kitchen to the bedroom, the parlor, back to the kitchen… The audience is split into three groups, each observing the personal story of one of three housewives: Linda, Cindy, and Karen. Linda is mourning the loss of her husband (finding comfort in the arms of a number of different men); Cindy is the consummate homemaker, but laboring in a loveless marriage; Karen is struggling to find her place in a restrictive suburban life she feels at odds with.\u003c/p>\n\u003cp>The play wrestles with some heavy issues — sexism, xenophobia, censorship — in a way that might have felt heavy-handed in a more traditional theater setting, but this intimate space, sitting in someone’s kitchen, watching as these issues play out in daily life reaffirms their continued relevance. Or, maybe the pie is so good it doesn’t even matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Lysistrata Project\u003c/b> runs through April 23, with performances at 8pm, Thursday through Saturday at \u003ca href=\"http://www.mapquest.com/maps?city=Berkeley&state=CA&address=2836+Regent+St&zipcode=94705-2134&country=US&latitude=37.85842&longitude=-122.25689&geocode=ADDRESS\">The Regent House\u003c/a> in Berkeley. Performances are Thursday through Saturday at 8pm. For \u003ca href=\"http://crowdedfire.org/\">tickets and information\u003c/a> visit crowdedFire.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28897/the_lysistrata_project",
"authors": [
"39"
],
"categories": [
"arts_968"
],
"featImg": "arts_10028897",
"label": "arts"
},
"arts_28815": {
"type": "posts",
"id": "arts_28815",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28815",
"score": null,
"sort": [
1270688986000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1270688986,
"format": "standard",
"title": "MGMT: Congratulations",
"headTitle": "MGMT: Congratulations | KQED",
"content": "\u003cp>The cover of \u003cb>Congratulations\u003c/b>, MGMT’s sophomore album (out April 13), depicts a two-headed cartoon cat on a surfboard — one head looking forward, the other looking back — on the verge of being eaten by the wave it’s surfing. And that pretty much sums it up.\u003c/p>\n\u003cp>Like the cover, the album itself is a piece of psychedelia, half-teasing, half-earnest, and utterly trippy. It begins with “It’s Working,” a piece of up-tempo surf-rock, with the chanting refrain, “It’s working in your blood.” The song is hyperactive — it bounces along, building to a crescendo, stops dead and crashes down, before picking up again at an even more frenzied pace. “It’s Working” sets a tone for the rest of the album, a schizophrenic nine-song joy-ride, among which listeners will find the raucous Bowie-Beatles blend “Flash Delirium,” twelve space-and-time-sprawling minutes called “Siberian Breaks,” an instrumental (“Lady Dada’s Nightmare”) and the gorgeous title track.\u003c/p>\n\u003cp>Since it leaked a few weeks ago, the majority of what has been said about the album is about what it is not — quite simply, another \u003cb>Oracular Spectacular\u003c/b>, the 2007 album that made the band famous with catchy hits like “Kids” and “Time to Pretend.”\u003c/p>\n\u003cp>Critics, egged on in part by comments made by the Brooklyn-based duo (Ben Goldwasser and Andrew VanWyngarden), have fretted over the commercial viability of the album. Peter Kember, who helped produced it, has said, “Nobody really knows how the album is going to be received.” The band’s co-manager Mark Kates has voiced a similar sentiment, “Every indication we’re getting is that people really want it… that doesn’t mean they’re going to like it, or that they’re going to buy it, or that it will sell more or less than the last record.”\u003c/p>\n\u003cp>VanWyngarden has said of \u003cb>Congratulations\u003c/b>, “The people responsible for making money hoped that we’d record another ‘Time to Pretend’…but everyone close to us knew we weren’t going to do that.” The video for “Flash Delirium” eludes to a struggle over creative control: half-way through, Ben rips a bandage from his throat, revealing a gaping hole that appears to sing for a moment, before two suits rush forward to wrestle a wriggling eel from the wound. The eel is taken and forcibly deposited in a giant contraption that appears to have some transformative capacity… I’m not making this up! \u003ca href=\"http://www.youtube.com/watch?v=QvSMp7T2Kes\">See for yourself\u003c/a>…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true, \u003cb>Congratulations\u003c/b> is different than \u003cb>Oracular\u003c/b>. But that is what is good about it. At this point, most of us have heard “Kids” so many times — in heavy radio-rotation, on \u003cb>Gossip Girl\u003c/b>, in ads for French President Nicolas Sarkozy’s UMP party — that the high-pitched opening bars, and overlaid children’s squeals, have become grating. That includes MGMT themselves, “If we tried to re-create our last album and someone didn’t like it, I think it would have been really difficult to look them in the eye and tell them we really believed in the album… But now, if someone tells us that it sucks, we don’t give a shit.” Goldwasser said in an \u003ca href=\"http://www.blackbookmag.com/article/mgmt/17441\">interview\u003c/a>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> doesn’t suck — it is affecting and intricate, and sometimes subtle, and sometimes dense, almost inscrutable, and a pleasure all the way through, over and over again. Whether the album proves to be a commercial success has yet to be seen, but it doesn’t seem as though that is even the goal this time around.\u003c/p>\n\u003cp>The success that MGMT mocked in “Time to Pretend” (singing, “Lets make some music, make some money, find some models for wives.”) is treated as a double-edged sword on \u003cb>Congratulations\u003c/b> — it is both the wave they are riding, and the one that threatens to consume them. Nowhere is this ambivalence more apparent than on the final and title track of the album, on which VanWyngarden sings, “I’ve got someone to make reports/ That tell me how my money’s spent/ To book my stays and draw my blinds/ So I can’t see what’s really there/ And all I need’s a great big congratulations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> drops April 13, 2010 until then you can \u003ca href=\"http://whoismgmt.com\">hear it\u003c/a>\u003ca>\u003c/a> streaming on their website, WHOISMGMT.com. MGMT play the Fillmore in San Francisco April 12 and 13. For \u003ca href=\"http://LiveNation.com/\">tickets and information\u003c/a> visit LiveNation.com or call (415) 346-6000.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 817,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052211,
"excerpt": "The cover of \u003cb>Congratulations\u003c/b>, MGMT's sophomore album, depicts a two-headed cartoon cat on a surfboard -- one head looking forward, the other looking back -- on the verge of being eaten by the wave it's surfing. And that pretty much sums it up.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The cover of Congratulations, MGMT's sophomore album, depicts a two-headed cartoon cat on a surfboard -- one head looking forward, the other looking back -- on the verge of being eaten by the wave it's surfing. And that pretty much sums it up.",
"title": "MGMT: Congratulations | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "MGMT: Congratulations",
"datePublished": "2010-04-07T18:09:46-07:00",
"dateModified": "2024-01-12T01:36:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mgmt_congratulations",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/28815/mgmt_congratulations",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cover of \u003cb>Congratulations\u003c/b>, MGMT’s sophomore album (out April 13), depicts a two-headed cartoon cat on a surfboard — one head looking forward, the other looking back — on the verge of being eaten by the wave it’s surfing. And that pretty much sums it up.\u003c/p>\n\u003cp>Like the cover, the album itself is a piece of psychedelia, half-teasing, half-earnest, and utterly trippy. It begins with “It’s Working,” a piece of up-tempo surf-rock, with the chanting refrain, “It’s working in your blood.” The song is hyperactive — it bounces along, building to a crescendo, stops dead and crashes down, before picking up again at an even more frenzied pace. “It’s Working” sets a tone for the rest of the album, a schizophrenic nine-song joy-ride, among which listeners will find the raucous Bowie-Beatles blend “Flash Delirium,” twelve space-and-time-sprawling minutes called “Siberian Breaks,” an instrumental (“Lady Dada’s Nightmare”) and the gorgeous title track.\u003c/p>\n\u003cp>Since it leaked a few weeks ago, the majority of what has been said about the album is about what it is not — quite simply, another \u003cb>Oracular Spectacular\u003c/b>, the 2007 album that made the band famous with catchy hits like “Kids” and “Time to Pretend.”\u003c/p>\n\u003cp>Critics, egged on in part by comments made by the Brooklyn-based duo (Ben Goldwasser and Andrew VanWyngarden), have fretted over the commercial viability of the album. Peter Kember, who helped produced it, has said, “Nobody really knows how the album is going to be received.” The band’s co-manager Mark Kates has voiced a similar sentiment, “Every indication we’re getting is that people really want it… that doesn’t mean they’re going to like it, or that they’re going to buy it, or that it will sell more or less than the last record.”\u003c/p>\n\u003cp>VanWyngarden has said of \u003cb>Congratulations\u003c/b>, “The people responsible for making money hoped that we’d record another ‘Time to Pretend’…but everyone close to us knew we weren’t going to do that.” The video for “Flash Delirium” eludes to a struggle over creative control: half-way through, Ben rips a bandage from his throat, revealing a gaping hole that appears to sing for a moment, before two suits rush forward to wrestle a wriggling eel from the wound. The eel is taken and forcibly deposited in a giant contraption that appears to have some transformative capacity… I’m not making this up! \u003ca href=\"http://www.youtube.com/watch?v=QvSMp7T2Kes\">See for yourself\u003c/a>…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true, \u003cb>Congratulations\u003c/b> is different than \u003cb>Oracular\u003c/b>. But that is what is good about it. At this point, most of us have heard “Kids” so many times — in heavy radio-rotation, on \u003cb>Gossip Girl\u003c/b>, in ads for French President Nicolas Sarkozy’s UMP party — that the high-pitched opening bars, and overlaid children’s squeals, have become grating. That includes MGMT themselves, “If we tried to re-create our last album and someone didn’t like it, I think it would have been really difficult to look them in the eye and tell them we really believed in the album… But now, if someone tells us that it sucks, we don’t give a shit.” Goldwasser said in an \u003ca href=\"http://www.blackbookmag.com/article/mgmt/17441\">interview\u003c/a>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> doesn’t suck — it is affecting and intricate, and sometimes subtle, and sometimes dense, almost inscrutable, and a pleasure all the way through, over and over again. Whether the album proves to be a commercial success has yet to be seen, but it doesn’t seem as though that is even the goal this time around.\u003c/p>\n\u003cp>The success that MGMT mocked in “Time to Pretend” (singing, “Lets make some music, make some money, find some models for wives.”) is treated as a double-edged sword on \u003cb>Congratulations\u003c/b> — it is both the wave they are riding, and the one that threatens to consume them. Nowhere is this ambivalence more apparent than on the final and title track of the album, on which VanWyngarden sings, “I’ve got someone to make reports/ That tell me how my money’s spent/ To book my stays and draw my blinds/ So I can’t see what’s really there/ And all I need’s a great big congratulations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> drops April 13, 2010 until then you can \u003ca href=\"http://whoismgmt.com\">hear it\u003c/a>\u003ca>\u003c/a> streaming on their website, WHOISMGMT.com. MGMT play the Fillmore in San Francisco April 12 and 13. For \u003ca href=\"http://LiveNation.com/\">tickets and information\u003c/a> visit LiveNation.com or call (415) 346-6000.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28815/mgmt_congratulations",
"authors": [
"39"
],
"categories": [
"arts_69"
],
"featImg": "arts_10028815",
"label": "arts"
},
"arts_28507": {
"type": "posts",
"id": "arts_28507",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "28507",
"score": null,
"sort": [
1269376531000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1269376531,
"format": "standard",
"title": "The African Continuum: Sacred Ceremonies and Rituals",
"headTitle": "The African Continuum: Sacred Ceremonies and Rituals | KQED",
"content": "\u003cp>“I don’t practice Santería, I ain’t got no Crystal Ball, well I had a million dollars, but I spent it all,” Brad Nowell crooned on the track “Santería,” one of Sublime’s most famous songs. Sublime was a band of three white kids from Long Beach, California, so a person would be justified in wondering what they could possibly know about a religion from West Africa that’s practiced predominately in the Caribbean. But pay a visit to the Museum of African Diaspora and check out their new exhibit \u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> and it all starts to make a little more sense. \u003c/p>\n\u003cp>\u003cb>The African Continuum\u003c/b> documents the rituals and ceremonies of “New World faiths,” Santería, Vodou and Candomblé, religions that have their roots in ancient African practices, as they are practiced today in areas that were once major destinations of the Atlantic slave trade. Santería, Vodou and Candomblé are syncretic religions — faiths in which elements from different religions are adopted and blended together, in these cases elements of Roman Catholicism and Congolese practices.\u003c/p>\n\u003cp>The exhibit, on display until August 28, 2010, consists of a collection of photographs documenting ceremonies, altars, and rituals around Brazil, Haiti, Cuba, New Orleans, and South Carolina, two altars created by a high priestess of Haitin Vodou and a number of \u003ci>dwapo\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Dwapo\u003c/i> are Haitain Vodou flags, traditionally unfurled at the beginning of a ceremony as a welcome to spirits. They are brightly colored, sequined and beaded with intricate detail. The sequins are meant to attract deities, and the beads depict the earthly shape they would take. Priests or priestesses draw the same outlines at the start of a ceremony in the dirt or ash then dance until long after the designs are ground up and swept away — the idea is that spirits enter the feet of practitioners and a possess them in dance.\u003c/p>\n\u003cp>Among Wiley’s photographs are images of practitioners dancing in religious fervor, as well as images of other rituals, and practices and altars, captured by the artists over the last ten years spent observing and documenting religious practices in South America, the Carribean, and the southern United States. Some of the most captivating images are not of the people or things, but places: a foggy sunset from St. Helena Island, South Carolina, a palm-dotted landscape shot from a train in Cuba, a rusted and lichen-covered cemetery in Beaufort. There is a palpable presence in the photographs; they seem as invested with spirit as the ones that feature living subjects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What may be most interesting about the photographs though is what they show when considered together — a collage depicting the evolution of a religion. All three faiths have common origin, but have taken root in different places, and the images illustrate how the people in those places have taken them on and made them their own.\u003c/p>\n\u003cp>The exhibit includes two altars created by Dowoti Désir, a Haitian-American and a highest priestess of Haitian Vodun. They are large tables draped with fabric, and adorned with candles, clay pots, gourds, sequined \u003ci>dwapo\u003c/i>, bottles of water, bottles of perfume, sequined bottles, incense, candy, coins and paper money.\u003c/p>\n\u003cp>Wiley’s photographs of altars reflect the diversity created as the religions evolved in response to their different environments. An altar at the base of a tree in New Orleans features a jar of honey, a bottle of Bacardi and a pack of cigarettes, another in Cuba has a skull and a cigar. A note at the entrance to the exhibit tells visitors “British gin now regularly replaces the plam wine that is traditional in Nigeria, rum is the choice in the Carribean, and for disenfranchised youth in many American urban centers it is a 40 oz. bottle of beer.” Which brings me back to Sublime, it seems “40 oz. to Freedom” may be a little more universal a sentiment than one might initially suppose. It’s this sense of connectivity that lasts after leaving “The African Continuum.” After seeing ancient religious practices transported and transformed from Africa to Brazil, Haiti, Cuba, and New Orleans, Long Beach doesn’t seem too much farther at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> will be on display until August 28 at the \u003ca href=\"http://www.moadsf.org\">Museum of African Diaspora\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 753,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052231,
"excerpt": "What could Sublime, a band made up of three white kids from Long Beach, possibly know about a religion from West Africa? Pay a visit to the Museum of African Diaspora's new exhibit \u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> and find out.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "What could Sublime, a band made up of three white kids from Long Beach, possibly know about a religion from West Africa? Pay a visit to the Museum of African Diaspora's new exhibit The African Continuum: Sacred Ceremonies and Rituals and find out.",
"title": "The African Continuum: Sacred Ceremonies and Rituals | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The African Continuum: Sacred Ceremonies and Rituals",
"datePublished": "2010-03-23T13:35:31-07:00",
"dateModified": "2024-01-12T01:37:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_african_continuum_sacred_ceremonies_and_rituals",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/28507/the_african_continuum_sacred_ceremonies_and_rituals",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I don’t practice Santería, I ain’t got no Crystal Ball, well I had a million dollars, but I spent it all,” Brad Nowell crooned on the track “Santería,” one of Sublime’s most famous songs. Sublime was a band of three white kids from Long Beach, California, so a person would be justified in wondering what they could possibly know about a religion from West Africa that’s practiced predominately in the Caribbean. But pay a visit to the Museum of African Diaspora and check out their new exhibit \u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> and it all starts to make a little more sense. \u003c/p>\n\u003cp>\u003cb>The African Continuum\u003c/b> documents the rituals and ceremonies of “New World faiths,” Santería, Vodou and Candomblé, religions that have their roots in ancient African practices, as they are practiced today in areas that were once major destinations of the Atlantic slave trade. Santería, Vodou and Candomblé are syncretic religions — faiths in which elements from different religions are adopted and blended together, in these cases elements of Roman Catholicism and Congolese practices.\u003c/p>\n\u003cp>The exhibit, on display until August 28, 2010, consists of a collection of photographs documenting ceremonies, altars, and rituals around Brazil, Haiti, Cuba, New Orleans, and South Carolina, two altars created by a high priestess of Haitin Vodou and a number of \u003ci>dwapo\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Dwapo\u003c/i> are Haitain Vodou flags, traditionally unfurled at the beginning of a ceremony as a welcome to spirits. They are brightly colored, sequined and beaded with intricate detail. The sequins are meant to attract deities, and the beads depict the earthly shape they would take. Priests or priestesses draw the same outlines at the start of a ceremony in the dirt or ash then dance until long after the designs are ground up and swept away — the idea is that spirits enter the feet of practitioners and a possess them in dance.\u003c/p>\n\u003cp>Among Wiley’s photographs are images of practitioners dancing in religious fervor, as well as images of other rituals, and practices and altars, captured by the artists over the last ten years spent observing and documenting religious practices in South America, the Carribean, and the southern United States. Some of the most captivating images are not of the people or things, but places: a foggy sunset from St. Helena Island, South Carolina, a palm-dotted landscape shot from a train in Cuba, a rusted and lichen-covered cemetery in Beaufort. There is a palpable presence in the photographs; they seem as invested with spirit as the ones that feature living subjects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What may be most interesting about the photographs though is what they show when considered together — a collage depicting the evolution of a religion. All three faiths have common origin, but have taken root in different places, and the images illustrate how the people in those places have taken them on and made them their own.\u003c/p>\n\u003cp>The exhibit includes two altars created by Dowoti Désir, a Haitian-American and a highest priestess of Haitian Vodun. They are large tables draped with fabric, and adorned with candles, clay pots, gourds, sequined \u003ci>dwapo\u003c/i>, bottles of water, bottles of perfume, sequined bottles, incense, candy, coins and paper money.\u003c/p>\n\u003cp>Wiley’s photographs of altars reflect the diversity created as the religions evolved in response to their different environments. An altar at the base of a tree in New Orleans features a jar of honey, a bottle of Bacardi and a pack of cigarettes, another in Cuba has a skull and a cigar. A note at the entrance to the exhibit tells visitors “British gin now regularly replaces the plam wine that is traditional in Nigeria, rum is the choice in the Carribean, and for disenfranchised youth in many American urban centers it is a 40 oz. bottle of beer.” Which brings me back to Sublime, it seems “40 oz. to Freedom” may be a little more universal a sentiment than one might initially suppose. It’s this sense of connectivity that lasts after leaving “The African Continuum.” After seeing ancient religious practices transported and transformed from Africa to Brazil, Haiti, Cuba, and New Orleans, Long Beach doesn’t seem too much farther at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The African Continuum: Sacred Ceremonies and Rituals\u003c/b> will be on display until August 28 at the \u003ca href=\"http://www.moadsf.org\">Museum of African Diaspora\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/28507/the_african_continuum_sacred_ceremonies_and_rituals",
"authors": [
"39"
],
"categories": [
"arts_70"
],
"featImg": "arts_10028507",
"label": "arts"
},
"arts_27760": {
"type": "posts",
"id": "arts_27760",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "27760",
"score": null,
"sort": [
1265750081000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1265750081,
"format": "standard",
"title": "Best Laid Plans: Foreclosure USA and Infix at SFMOMA Artists Gallery",
"headTitle": "Best Laid Plans: Foreclosure USA and Infix at SFMOMA Artists Gallery | KQED",
"content": "\u003cp>Mike Tyson once said “Everybody’s got plans…until they get hit.” And while some might not think of Tyson as a particularly prophetic individual, I’d challenge them to find a more fitting way to describe Kirk Crippens’s photographs of Stockton, California, which has been called the epicenter of the housing crisis.\u003c/p>\n\u003cp>Stockton is a nice town (twice awarded the \u003ca href=\"http://ncl.org/aac/AACindex.htm\">All-America City Award\u003c/a> by the National Civic League). Being relatively inexpensive and within commuting distance to Sacramento and San Francisco made it prime real estate for speculators cashing in on the housing boom, and swathes of planned communities sprung up around the city. Two years ago, the same qualities left Stockton vulnerable; when the housing bubble popped, 1 in 27 Stockton homes ended up in foreclosure.\u003c/p>\n\u003cp>Kirk Crippens’s photographs chronicle the economic crisis at the most personal level, as it reverberates through the daily lives of Californians. The photographs in \u003cb>Foreclosure, USA\u003c/b>, taken during 2008 and 2009, feature the dissolution of planned communities: sidewalks abruptly dead-ending into dirt; the detritus left behind by squatters in foreclosed houses; swimming pools, empty except for a puddle of yellow scum and rings of dirt.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crippens.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Kirk Crippens\u003c/p>\n\u003cp>Gallery info states Crippens was inspired by the famous documentary photographs of the dustbowl, but to me, the analogy doesn’t exactly work: when I think of most famous dustbowl photographs by artists like Dorthea Lange and Walker Evans, I think of the \u003ci>faces\u003c/i> of migrant workers and sharecroppers. Crippens’s photographs are different: they are gorgeous images that manage to capture the affective landscape of human emotion in upheaval, without ever including a single person on film. He does this by shooting emptied homes: abandoned by owners, repossessed by banks, and gutted by looters. The object is the same though: the Farm Security Administration hired photographers to show the human side of the dustbowl to people who weren’t directly experiencing it; Crippens’s project, funded in part by grants from SFMOMA, the Sierra Club, and the Museum of African Diaspora, functions similarly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I went to the SFMOMA Artists Gallery on a rainy Thursday night for the opening of \u003cb>Foreclosure USA\u003c/b> (which is in the “Loft Gallery”), but was surprised to find another show, \u003cb>Infix\u003c/b>, opening in the main gallery. In grammar, an “infix” refers to a suffix or prefix inserted into the middle of a word, changing the tense or the subject/object relationship. Infixes aren’t typically used in English (though they are common in Tagalog, Latin and Arabic) but they are becoming more common in modern parlance. Examples include Snoop Dogg’s in the “hizzouse,” and \u003cb>Sex and the City\u003c/b>‘s Mr. Big’s “abso-f@#*ing-lutely.”\u003c/p>\n\u003cp>\u003cb>Infix\u003c/b> features a number of Bay Area artists, Renée Billingslea, E. G. Crichton, Lisa R. Gould, Willie Little, Lewis Watts, and a collective called BARRIONICS, and posits their work, and the Bay Area arts, as an infix in the global arts scene. Some of the work, Lewis Watt’s documentary photography of Louisiana and New York and Renée Billingslea’s project repurposing historical photographs of a lynch mob, sit well alongside \u003cb>Foreclosure, USA\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghosts.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Lewis Wattss\u003c/p>\n\u003cp>The most pleasant surprise was E.G. Crichton’s large-scale digital prints, made by combining household chemicals on plates of glass. While the component materials (Betadine, Palmolive, Comet, and Ex-Lax, to name a few) could be found in any given American home, the images produced from the combination have a distinctly other-worldly feel. They look like alien images shot from extreme Hubble Space Telescope-distance.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aquafresh.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: E.G. Chrichton\u003c/p>\n\u003cp>While I secretly wish that there had been more room for Crippens’s photographs, \u003cb>Infix\u003c/b> was a pleasant interruption of my plans…and if Crippens’s work illustrates anything, it is that things don’t always work out as planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Infix: The Grammar of Insertion\u003c/b> and \u003cb>Foreclosure USA\u003c/b> are on display at the SFMOMA Artists Gallery at Ft. Mason in San Francisco through March 12, 2010. For \u003ca href=\"http://www.sfmoma.org/pages/artists_gallery_exhibitions\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 707,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705052286,
"excerpt": "Mike Tyson once said \"Everybody's got plans...until they get hit.\" I can't think of a more fitting way to describe Kirk Crippens's photographs of Stockton, California, which has been called the epicenter of the housing crisis.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Mike Tyson once said "Everybody's got plans...until they get hit." I can't think of a more fitting way to describe Kirk Crippens's photographs of Stockton, California, which has been called the epicenter of the housing crisis.",
"title": "Best Laid Plans: Foreclosure USA and Infix at SFMOMA Artists Gallery | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Best Laid Plans: Foreclosure USA and Infix at SFMOMA Artists Gallery",
"datePublished": "2010-02-09T13:14:41-08:00",
"dateModified": "2024-01-12T01:38:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "best_laid_plans_foreclosure_usa_and_infix_at_sfmoma_artists",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/27760/best_laid_plans_foreclosure_usa_and_infix_at_sfmoma_artists",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Tyson once said “Everybody’s got plans…until they get hit.” And while some might not think of Tyson as a particularly prophetic individual, I’d challenge them to find a more fitting way to describe Kirk Crippens’s photographs of Stockton, California, which has been called the epicenter of the housing crisis.\u003c/p>\n\u003cp>Stockton is a nice town (twice awarded the \u003ca href=\"http://ncl.org/aac/AACindex.htm\">All-America City Award\u003c/a> by the National Civic League). Being relatively inexpensive and within commuting distance to Sacramento and San Francisco made it prime real estate for speculators cashing in on the housing boom, and swathes of planned communities sprung up around the city. Two years ago, the same qualities left Stockton vulnerable; when the housing bubble popped, 1 in 27 Stockton homes ended up in foreclosure.\u003c/p>\n\u003cp>Kirk Crippens’s photographs chronicle the economic crisis at the most personal level, as it reverberates through the daily lives of Californians. The photographs in \u003cb>Foreclosure, USA\u003c/b>, taken during 2008 and 2009, feature the dissolution of planned communities: sidewalks abruptly dead-ending into dirt; the detritus left behind by squatters in foreclosed houses; swimming pools, empty except for a puddle of yellow scum and rings of dirt.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/crippens.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Kirk Crippens\u003c/p>\n\u003cp>Gallery info states Crippens was inspired by the famous documentary photographs of the dustbowl, but to me, the analogy doesn’t exactly work: when I think of most famous dustbowl photographs by artists like Dorthea Lange and Walker Evans, I think of the \u003ci>faces\u003c/i> of migrant workers and sharecroppers. Crippens’s photographs are different: they are gorgeous images that manage to capture the affective landscape of human emotion in upheaval, without ever including a single person on film. He does this by shooting emptied homes: abandoned by owners, repossessed by banks, and gutted by looters. The object is the same though: the Farm Security Administration hired photographers to show the human side of the dustbowl to people who weren’t directly experiencing it; Crippens’s project, funded in part by grants from SFMOMA, the Sierra Club, and the Museum of African Diaspora, functions similarly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I went to the SFMOMA Artists Gallery on a rainy Thursday night for the opening of \u003cb>Foreclosure USA\u003c/b> (which is in the “Loft Gallery”), but was surprised to find another show, \u003cb>Infix\u003c/b>, opening in the main gallery. In grammar, an “infix” refers to a suffix or prefix inserted into the middle of a word, changing the tense or the subject/object relationship. Infixes aren’t typically used in English (though they are common in Tagalog, Latin and Arabic) but they are becoming more common in modern parlance. Examples include Snoop Dogg’s in the “hizzouse,” and \u003cb>Sex and the City\u003c/b>‘s Mr. Big’s “abso-f@#*ing-lutely.”\u003c/p>\n\u003cp>\u003cb>Infix\u003c/b> features a number of Bay Area artists, Renée Billingslea, E. G. Crichton, Lisa R. Gould, Willie Little, Lewis Watts, and a collective called BARRIONICS, and posits their work, and the Bay Area arts, as an infix in the global arts scene. Some of the work, Lewis Watt’s documentary photography of Louisiana and New York and Renée Billingslea’s project repurposing historical photographs of a lynch mob, sit well alongside \u003cb>Foreclosure, USA\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghosts.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Lewis Wattss\u003c/p>\n\u003cp>The most pleasant surprise was E.G. Crichton’s large-scale digital prints, made by combining household chemicals on plates of glass. While the component materials (Betadine, Palmolive, Comet, and Ex-Lax, to name a few) could be found in any given American home, the images produced from the combination have a distinctly other-worldly feel. They look like alien images shot from extreme Hubble Space Telescope-distance.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aquafresh.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: E.G. Chrichton\u003c/p>\n\u003cp>While I secretly wish that there had been more room for Crippens’s photographs, \u003cb>Infix\u003c/b> was a pleasant interruption of my plans…and if Crippens’s work illustrates anything, it is that things don’t always work out as planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Infix: The Grammar of Insertion\u003c/b> and \u003cb>Foreclosure USA\u003c/b> are on display at the SFMOMA Artists Gallery at Ft. Mason in San Francisco through March 12, 2010. For \u003ca href=\"http://www.sfmoma.org/pages/artists_gallery_exhibitions\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/27760/best_laid_plans_foreclosure_usa_and_infix_at_sfmoma_artists",
"authors": [
"39"
],
"categories": [
"arts_74"
],
"featImg": "arts_10027760",
"label": "arts"
},
"arts_27004": {
"type": "posts",
"id": "arts_27004",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "27004",
"score": null,
"sort": [
1261444183000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1261444183,
"format": "standard",
"title": "Champagne Wishes and Cartier Dreams",
"headTitle": "Champagne Wishes and Cartier Dreams | KQED",
"content": "\u003cp>I’m convinced there is something about jewels that illicit an involuntary, biological response in human beings. Maybe you’re skeptical — if you want proof go check out the \u003cb>Cartier and America\u003c/b> exhibition at the Legion of Honor, close your eyes and listen for the audible gasps as visitors make their way through a showcase of the French jeweler’s best.\u003c/p>\n\u003cp>The retrospective (which runs through April 18, 2010) is a celebration of Cartier’s 100th anniversary in America. The love affair began in 1909 when the jeweler acquired the 5th Avenue mansion that still houses its New York headquarters, in exchange for a particularly exquisite double-stranded pearl necklace.\u003c/p>\n\u003cp>Every piece in the exhibition is similarly steeped in legend: the diamond cuff bracelets Gloria Swanson wore in the film Sunset Boulevard; the bejeweled flamingo pin that Wallis Simpson wore in her first public appearance after Edward VIII gave up the throne to marry her; the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/swanson.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gloria Swanson wearing Cartier bracelets. 1930.\u003c/p>\n\u003cp>Cartier has been called the “Jeweler of the Kings, King of the Jewelers.” The atelier earned the moniker for keeping the royal courts of England, Spain, Portugal, Russia, Siam, Greece, Serbia, Belgium, Romania, Egypt, Albania, and Monaco outfitted in jewels throughout the twentieth century. Minus a monarchy, aristocrats and celebrities assumed the mantle (or maybe I should say tiara) of maintaining the jeweler’s presence in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tiara.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In this way, the exhibition is as much a retrospective of American society and Hollywood celebrity in the twentieth century as it is of gorgeous and innovative jewelry design. The effect is a bit like splicing together the History Channel and the E! Network — there is a gold-plated trowel FDR used to inaugurate a “New Deal” Program and a room devoted just to the personal jewelry of Elizabeth Taylor and Grace Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liz-taylor.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Elizabeth Taylor wearing Cartier ruby and diamond necklace. 1958.\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is meticulously curated, and breathtaking in scope. It features nearly 300 pieces — necklaces, bracelets, brooches, pendants, rings, tiaras, cigarette cases, clocks — made from all manner of materials — diamonds, emeralds, rubies, sapphires, coral, jade, turquoise, platinum, silver, gold — crafted between the turn of the century and the 1970s.\u003c/p>\n\u003cp>And while the blinding 47.69-carat “Star of South Africa” (credited with unleashing the South African diamond rush) is on display, strikingly absent is any mention whatsoever of the political controversy associated with diamonds mined in Africa and used to finance insurgent violence. It’s an uncomfortable omission, since in the midst of such auspicious and extravagant wealth one has to wonder about the cost of it all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is at the Legion of Honor in San Francisco through April 18, 2010. For \u003ca href=\"http://www.famsf.org/legion/index.asp\">tickets and information\u003c/a> visit famsf.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 486,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705052349,
"excerpt": "Every piece in the \u003cb>Cartier and America\u003c/b> exhibition is steeped in legend: the diamond cuff bracelets Gloria Swanson wore in \u003cb>Sunset Boulevard\u003c/b>, and the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Every piece in the Cartier and America exhibition is steeped in legend: the diamond cuff bracelets Gloria Swanson wore in Sunset Boulevard, and the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).",
"title": "Champagne Wishes and Cartier Dreams | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Champagne Wishes and Cartier Dreams",
"datePublished": "2009-12-21T17:09:43-08:00",
"dateModified": "2024-01-12T01:39:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "champagne_wishes_and_cartier_dreams",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/27004/champagne_wishes_and_cartier_dreams",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m convinced there is something about jewels that illicit an involuntary, biological response in human beings. Maybe you’re skeptical — if you want proof go check out the \u003cb>Cartier and America\u003c/b> exhibition at the Legion of Honor, close your eyes and listen for the audible gasps as visitors make their way through a showcase of the French jeweler’s best.\u003c/p>\n\u003cp>The retrospective (which runs through April 18, 2010) is a celebration of Cartier’s 100th anniversary in America. The love affair began in 1909 when the jeweler acquired the 5th Avenue mansion that still houses its New York headquarters, in exchange for a particularly exquisite double-stranded pearl necklace.\u003c/p>\n\u003cp>Every piece in the exhibition is similarly steeped in legend: the diamond cuff bracelets Gloria Swanson wore in the film Sunset Boulevard; the bejeweled flamingo pin that Wallis Simpson wore in her first public appearance after Edward VIII gave up the throne to marry her; the diamond engagement ring Prince Rainier gave to Grace Kelly (to name a few).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/swanson.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gloria Swanson wearing Cartier bracelets. 1930.\u003c/p>\n\u003cp>Cartier has been called the “Jeweler of the Kings, King of the Jewelers.” The atelier earned the moniker for keeping the royal courts of England, Spain, Portugal, Russia, Siam, Greece, Serbia, Belgium, Romania, Egypt, Albania, and Monaco outfitted in jewels throughout the twentieth century. Minus a monarchy, aristocrats and celebrities assumed the mantle (or maybe I should say tiara) of maintaining the jeweler’s presence in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tiara.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In this way, the exhibition is as much a retrospective of American society and Hollywood celebrity in the twentieth century as it is of gorgeous and innovative jewelry design. The effect is a bit like splicing together the History Channel and the E! Network — there is a gold-plated trowel FDR used to inaugurate a “New Deal” Program and a room devoted just to the personal jewelry of Elizabeth Taylor and Grace Kelly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liz-taylor.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Elizabeth Taylor wearing Cartier ruby and diamond necklace. 1958.\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is meticulously curated, and breathtaking in scope. It features nearly 300 pieces — necklaces, bracelets, brooches, pendants, rings, tiaras, cigarette cases, clocks — made from all manner of materials — diamonds, emeralds, rubies, sapphires, coral, jade, turquoise, platinum, silver, gold — crafted between the turn of the century and the 1970s.\u003c/p>\n\u003cp>And while the blinding 47.69-carat “Star of South Africa” (credited with unleashing the South African diamond rush) is on display, strikingly absent is any mention whatsoever of the political controversy associated with diamonds mined in Africa and used to finance insurgent violence. It’s an uncomfortable omission, since in the midst of such auspicious and extravagant wealth one has to wonder about the cost of it all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cartier and America\u003c/b> is at the Legion of Honor in San Francisco through April 18, 2010. For \u003ca href=\"http://www.famsf.org/legion/index.asp\">tickets and information\u003c/a> visit famsf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/27004/champagne_wishes_and_cartier_dreams",
"authors": [
"39"
],
"categories": [
"arts_70"
],
"featImg": "arts_10027004",
"label": "arts"
},
"arts_24764": {
"type": "posts",
"id": "arts_24764",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "24764",
"score": null,
"sort": [
1243640846000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1243640846,
"format": "standard",
"title": "Nick Cave: Meet Me at the Center of the Earth",
"headTitle": "Nick Cave: Meet Me at the Center of the Earth | KQED",
"content": "\u003cp>Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, \u003cb>Meet Me at the Center of the Earth\u003c/b> and when you step in to the exhibit, it is immediately apparent why. The scene that unfolds in front of you is at once alien and familiar; forty figures in “soundsuits” are arranged on four platforms that extend out from the middle of the room. They vary in size, shape and constituent material — human hair, buttons, feathers, and beads, either by themselves or woven into metal apparatuses or stitched into sequined sweaters straight out of the ’80s — but all maintain a vaguely human form, even if only apparent from the feet that peek out below each suit.\u003c/p>\n\u003cp>Looming over you immediately as you enter is a life-size bear (grizzly, not teddy) in shape, made entirely of old sweaters. The bear, while it is one of the few elements in the show that is not wearable, is a nice corollary to the rest of the exhibit because it highlights both Cave’s love for textiles and his gift for construction. It also sets up the themes that run through the rest of the exhibit about the life taken on by the things we wear, and things we wear without showing it.\u003c/p>\n\u003cp>The show’s curator bills Cave’s soundsuits as “multi-layered, mixed media, wearable sculptures.” Many of the suits are made up of found objects, some are adorned with tchotchkes of the variety you would find on the tables and bookshelves of your grandmother’s house, others with yarn-and-popsicle-stick creations you’d see on a kindergarten crafts table. The variety of materials Cave uses to make the suits speaks to the diversity of human experience: he positions each figure as a net in which pieces of a personal history, the artifacts that shape our lives, are caught. From the material of their construction each suit takes on a different personality — \u003cb>Abacus Face\u003c/b>, \u003cb>Great Aunt Doily\u003c/b>, \u003cb>Pope Dolly Parton Jacket\u003c/b>.\u003c/p>\n\u003cp>But it’s not what they’re made of that originally intrigued Cave, but what they make themselves, specifically the sounds created when the suits are worn. Cave says the first soundsuit started as a sculpture made of twigs he drilled holes in and strung together in the shape of a person, but he became fascinated by the sounds made when he tried the sculpture on. That first suit gave rise to dozens of others, and the show at Yerba Buena is the largest assemblage of them to date (some, like the original twig soundsuit, are in private collections). The Yerba Buena Center commissioned choreographer Ronald K. Brown to create a dance that allows an audience to see and hear the suits in action. (Cave, who trained with Alvin Ailey before earning a graduate degree in fashion, has performed in the soundsuits before.)\u003c/p>\n\u003cp>The performance that Brown choreographed complements the variety found within the suits themselves, incorporating elements of African, ballet, hip-hop and modern dance. There is no stage for the performance, instead dancers begin their performance at the top of the stairs in the foyer of the Yerba Buena Center, and move through the building in a few rounds, hitting all of the gallery spaces, and stopping at intervals to dance-off with, and sometimes up on, the attendees. There is no music for most of the performance so the audience can listen to the sounds the suits make, but to be honest, I felt that aspect was the least interesting part of the show. They do make noise, mostly in muted tones like swishing hair and the rustling raffia, but the beauty of the suits in motion and the marvel of their construction dwarf the sensation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A word of advice: if you make it to one of the performances: let the dancers come to you rather than battle the crowd that inevitably follows them on their parade through the Art Center. It is easier to stake out a spot in the building’s foyer or the smaller gallery to see one of the longer choreographed pieces. If you can’t make it to one of the performances, it is definitely still worth a trip to the Yerba Buena Center to see the soundsuits, and stand in awe of Cave’s craftsmanship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Ronald K. Brown performance is free with admission to exhibit at the Yerba Buena Center for the Arts Saturday May 30 and Sunday May 31, 2009 at 3pm. \u003cb>Meet Me at the Center of the Earth\u003c/b> will be on display until July 5, 2009.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 786,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705052662,
"excerpt": "Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, \u003cb>Meet Me at the Center of the Earth\u003c/b> and when you step in to the exhibit, it is immediately apparent why. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, Meet Me at the Center of the Earth and when you step in to the exhibit, it is immediately apparent why. ",
"title": "Nick Cave: Meet Me at the Center of the Earth | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nick Cave: Meet Me at the Center of the Earth",
"datePublished": "2009-05-29T16:47:26-07:00",
"dateModified": "2024-01-12T01:44:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nick_cave_meet_me_at_the_center_of_the_earth",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/24764/nick_cave_meet_me_at_the_center_of_the_earth",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, \u003cb>Meet Me at the Center of the Earth\u003c/b> and when you step in to the exhibit, it is immediately apparent why. The scene that unfolds in front of you is at once alien and familiar; forty figures in “soundsuits” are arranged on four platforms that extend out from the middle of the room. They vary in size, shape and constituent material — human hair, buttons, feathers, and beads, either by themselves or woven into metal apparatuses or stitched into sequined sweaters straight out of the ’80s — but all maintain a vaguely human form, even if only apparent from the feet that peek out below each suit.\u003c/p>\n\u003cp>Looming over you immediately as you enter is a life-size bear (grizzly, not teddy) in shape, made entirely of old sweaters. The bear, while it is one of the few elements in the show that is not wearable, is a nice corollary to the rest of the exhibit because it highlights both Cave’s love for textiles and his gift for construction. It also sets up the themes that run through the rest of the exhibit about the life taken on by the things we wear, and things we wear without showing it.\u003c/p>\n\u003cp>The show’s curator bills Cave’s soundsuits as “multi-layered, mixed media, wearable sculptures.” Many of the suits are made up of found objects, some are adorned with tchotchkes of the variety you would find on the tables and bookshelves of your grandmother’s house, others with yarn-and-popsicle-stick creations you’d see on a kindergarten crafts table. The variety of materials Cave uses to make the suits speaks to the diversity of human experience: he positions each figure as a net in which pieces of a personal history, the artifacts that shape our lives, are caught. From the material of their construction each suit takes on a different personality — \u003cb>Abacus Face\u003c/b>, \u003cb>Great Aunt Doily\u003c/b>, \u003cb>Pope Dolly Parton Jacket\u003c/b>.\u003c/p>\n\u003cp>But it’s not what they’re made of that originally intrigued Cave, but what they make themselves, specifically the sounds created when the suits are worn. Cave says the first soundsuit started as a sculpture made of twigs he drilled holes in and strung together in the shape of a person, but he became fascinated by the sounds made when he tried the sculpture on. That first suit gave rise to dozens of others, and the show at Yerba Buena is the largest assemblage of them to date (some, like the original twig soundsuit, are in private collections). The Yerba Buena Center commissioned choreographer Ronald K. Brown to create a dance that allows an audience to see and hear the suits in action. (Cave, who trained with Alvin Ailey before earning a graduate degree in fashion, has performed in the soundsuits before.)\u003c/p>\n\u003cp>The performance that Brown choreographed complements the variety found within the suits themselves, incorporating elements of African, ballet, hip-hop and modern dance. There is no stage for the performance, instead dancers begin their performance at the top of the stairs in the foyer of the Yerba Buena Center, and move through the building in a few rounds, hitting all of the gallery spaces, and stopping at intervals to dance-off with, and sometimes up on, the attendees. There is no music for most of the performance so the audience can listen to the sounds the suits make, but to be honest, I felt that aspect was the least interesting part of the show. They do make noise, mostly in muted tones like swishing hair and the rustling raffia, but the beauty of the suits in motion and the marvel of their construction dwarf the sensation.\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>A word of advice: if you make it to one of the performances: let the dancers come to you rather than battle the crowd that inevitably follows them on their parade through the Art Center. It is easier to stake out a spot in the building’s foyer or the smaller gallery to see one of the longer choreographed pieces. If you can’t make it to one of the performances, it is definitely still worth a trip to the Yerba Buena Center to see the soundsuits, and stand in awe of Cave’s craftsmanship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Ronald K. Brown performance is free with admission to exhibit at the Yerba Buena Center for the Arts Saturday May 30 and Sunday May 31, 2009 at 3pm. \u003cb>Meet Me at the Center of the Earth\u003c/b> will be on display until July 5, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/24764/nick_cave_meet_me_at_the_center_of_the_earth",
"authors": [
"39"
],
"categories": [
"arts_69"
],
"featImg": "arts_10024764",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts?author=39&authorName=Tessa Stuart": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 9
},
"vitalsOnly": false,
"totalRequested": 9,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 10,
"relation": "eq"
},
"items": [
"arts_30044",
"arts_29518",
"arts_29402",
"arts_28897",
"arts_28815",
"arts_28507",
"arts_27760",
"arts_27004",
"arts_24764"
],
"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_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_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_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"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_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"
}
},
"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
}
}
