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The short film, \u003cem>Nostalgia Museum,\u003c/em> is the story of how the beloved arcade survived in the face of economic loss and mechanical deterioration.\u003c/p>\n\u003cp>\u003cstrong>About the Film - Nostalgia Museum\u003c/strong>\u003c/p>\n\u003cp>Antique arcade Musée Mécanique has provided entertainment to San Franciscans and tourists alike for nearly a century. But the pandemic almost marked its end. “Nostalgia Museum” provides an intimate portrayal of owner Dan Zelinsky as he struggles to keep the legacy of this iconic San Francisco institution, and of his father, alive in the face of economic loss and mechanical deterioration.\u003c/p>\n\u003cp>“It’s one of the few things in the city that is exactly the way it used to be. These machines are these machines.”\u003c/p>\n\u003cp>[gallery size=\"medium\" ids=\"3404,3396,3392,3393,3394,3395,3401,3402,3403,3406,3409,3410,3411,3412,3413\"]\u003c/p>\n\u003cp>\u003cstrong>Directors Statement:\u003c/strong>\u003c/p>\n\u003cp>Many establishments with long, rich histories did not make it to the other side of the pandemic. In a year defined by loss, we wondered how communities felt about losing pieces of their cultural heritage. Musée Mécanique is full of meaning for many throughout San Francisco. It is an eccentric home that delights across generations. For the 15 months that the arcade was closed to the public, patrons near and far donated to support the maintenance of the Musée in hopes that it would one day reopen. We were lucky that Dan Zelinsky welcomed us behind the museum’s shuttered doors and gave us a view into the history of his family, his city, and of the relentless labor required to keep century-old machines in working condition. All Dan has ever wanted is to share his collection with any person who happens to wander in. His love of fun and knowledge of mechanical restoration is unmatched. Together through the film, we explored themes of time, memory, community, family, and what it takes to preserve whimsy in a serious, commercial world.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\"]\u003ca href=\"https://www.youtube.com/watch?v=l8SbTiIWils\">Watch Nostalgia Museum Now\u003c/a> [/pullquote]\u003c/p>\n\u003cp>\u003cstrong>Director Bios:\u003c/strong>\u003c/p>\n\u003cp>Sofie Kodner is a journalist and documentarian based in San Francisco, California. She often reports at the nexus of history, design, and culture. Her work has appeared in CalMatters, KALW, Protocol, and the Jackson Hole News and Guide. She is currently pursuing a master’s degree at the University of California, Berkeley Graduate School of Journalism. Sofie grew up in St. Louis, Missouri.\u003c/p>\n\u003cp>Eleonora Bianchi is a Swiss-Italian journalist based in Berkeley, California. Before moving to the United States, she earned a degree in Human Rights and worked for Swiss Radio and Television. Eleonora is currently a master’s student at the UC Berkeley Graduate School of Journalism, where she focuses on investigative reporting and narrative writing. She is an avid traveler who enjoys learning about different cultures through story.\u003c/p>\n\u003cp>\u003cstrong>Credit List of Cast & Crew: \u003c/strong>\u003c/p>\n\u003cp>A film by Sofie Kodner & Eleonora Bianchi\u003cbr>\nCreative Advisors: Andrés Cediel & Samantha Grant\u003cbr>\nSpecial Thanks: Dan Zelinsky, Nicole Meldahl, Ken Eaton, Judith Taylor Dixon, Noah Haydon, Peter Mintun, James Matison, Derek Lipkin\u003cbr>\nArchival: Dan Zelinksy, Western Neighborhoods Project, Geoff Svendsgaard\u003cbr>\nTechnical Assistance: Chris O’Dea\u003cbr>\nProduced at the Graduate School of Journalism, University of California, Berkeley\u003c/p>\n\u003cp>[gallery columns=\"1\" size=\"medium\" link=\"file\" ids=\"3408,3407,3400,3391\"]\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic;background-color: transparent\">[ad fullwidth]\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n","disqusIdentifier":"3390 https://ww2.kqed.org/trulyca/?p=3390","disqusUrl":"https://ww2.kqed.org/trulyca/nostalgia-museum/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":595,"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1627660701,"excerpt":"San Francisco’s Musée Mécanique sat empty and under threat of permanent closure for 15 months during the pandemic. 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The short film, \u003cem>Nostalgia Museum,\u003c/em> is the story of how the beloved arcade survived in the face of economic loss and mechanical deterioration.\u003c/p>\n\u003cp>\u003cstrong>About the Film - Nostalgia Museum\u003c/strong>\u003c/p>\n\u003cp>Antique arcade Musée Mécanique has provided entertainment to San Franciscans and tourists alike for nearly a century. But the pandemic almost marked its end. “Nostalgia Museum” provides an intimate portrayal of owner Dan Zelinsky as he struggles to keep the legacy of this iconic San Francisco institution, and of his father, alive in the face of economic loss and mechanical deterioration.\u003c/p>\n\u003cp>“It’s one of the few things in the city that is exactly the way it used to be. These machines are these machines.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"size":"medium","ids":"3404,3396,3392,3393,3394,3395,3401,3402,3403,3406,3409,3410,3411,3412,3413","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Directors Statement:\u003c/strong>\u003c/p>\n\u003cp>Many establishments with long, rich histories did not make it to the other side of the pandemic. In a year defined by loss, we wondered how communities felt about losing pieces of their cultural heritage. Musée Mécanique is full of meaning for many throughout San Francisco. It is an eccentric home that delights across generations. For the 15 months that the arcade was closed to the public, patrons near and far donated to support the maintenance of the Musée in hopes that it would one day reopen. 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Sofie grew up in St. Louis, Missouri.\u003c/p>\n\u003cp>Eleonora Bianchi is a Swiss-Italian journalist based in Berkeley, California. Before moving to the United States, she earned a degree in Human Rights and worked for Swiss Radio and Television. Eleonora is currently a master’s student at the UC Berkeley Graduate School of Journalism, where she focuses on investigative reporting and narrative writing. She is an avid traveler who enjoys learning about different cultures through story.\u003c/p>\n\u003cp>\u003cstrong>Credit List of Cast & Crew: \u003c/strong>\u003c/p>\n\u003cp>A film by Sofie Kodner & Eleonora Bianchi\u003cbr>\nCreative Advisors: Andrés Cediel & Samantha Grant\u003cbr>\nSpecial Thanks: Dan Zelinsky, Nicole Meldahl, Ken Eaton, Judith Taylor Dixon, Noah Haydon, Peter Mintun, James Matison, Derek Lipkin\u003cbr>\nArchival: Dan Zelinksy, Western Neighborhoods Project, Geoff Svendsgaard\u003cbr>\nTechnical Assistance: Chris O’Dea\u003cbr>\nProduced at the Graduate School of Journalism, University of California, Berkeley\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"columns":"1","size":"medium","link":"file","ids":"3408,3407,3400,3391","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic;background-color: transparent\">\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/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/3390/nostalgia-museum","authors":["11272"],"programs":["trulyca_771"],"series":["trulyca_951"],"categories":["trulyca_45","trulyca_33","trulyca_40","trulyca_20","trulyca_21","trulyca_884","trulyca_35","trulyca_29","trulyca_46"],"tags":["trulyca_968","trulyca_963","trulyca_962","trulyca_961","trulyca_960","trulyca_967","trulyca_964","trulyca_966","trulyca_267","trulyca_965","trulyca_406"],"collections":["trulyca_81","trulyca_80"],"featImg":"trulyca_3399","label":"trulyca_771"},"trulyca_2026":{"type":"posts","id":"trulyca_2026","meta":{"index":"posts_1716263798","site":"trulyca","id":"2026","score":null,"sort":[1501277309000]},"parent":0,"labelTerm":{"site":"trulyca","term":771},"blocks":[],"publishDate":1501277309,"format":"video","disqusTitle":"F R E E","title":"F R E E","headTitle":"Season 12 | Truly CA | Truly CA | KQED Arts","content":"\u003cp>\u003cimg class=\"alignnone size-full wp-image-2629\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2017/07/free.png\" alt=\"\" width=\"672\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2017/07/free.png 672w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-240x133.png 240w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-375x208.png 375w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-520x288.png 520w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003c/p>\n\u003cp>\u003cem>F R E E\u003c/em> is an award-winning documentary that follows five teens through a life-changing year with the Destiny Arts Youth Performance Company in Oakland, California.\u003c/p>\n\u003cp>Each year, a diverse group of teens audition for a spot at Destiny Arts, where they will spend months working together to create an emotionally charged performance based on their lives. However, in a city plagued by violence and high student dropout rates, can they fight the external forces to complete their study?\u003c/p>\n\u003cp>Central to the film are the stories of five youth: Jamany, who once thought guns, violence, and drugs were the way to fit in who barely escapes juvenile hall; Tilly, who has little outlet for the pain of a difficult relationship with her girlfriend and resorts to self-harm; Nee Nee, who lives with her mother recently diagnosed with breast cancer and unable to pay the water bill; Alaysia, a young woman trying to cope with childhood sexual trauma; and Omar, who has been through 11 foster homes and is living with HIV.\u003c/p>\n\u003cp>As they unite to create their production, the teens find their voice and a community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the careful guidance of Destiny’s Artistic Director Sarah Crowell, their journey reveals how collaborative art can be a foundation for personal strength, liberation, and hope.\u003c/p>\n\n","disqusIdentifier":"2026 https://ww2.kqed.org/trulyca/?p=2026","disqusUrl":"https://ww2.kqed.org/trulyca/f-r-e-e/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":219,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":8},"modified":1537998280,"excerpt":null,"headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"F R E E tells the stories of five teenagers as they spend a life-changing year at the Destiny Arts Youth Performance Company in Oakland, California. ","title":"F R E E","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"F R E E","datePublished":"2017-07-28T14:28:29-07:00","dateModified":"2018-09-26T14:44:40-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"f-r-e-e","status":"publish","originalAirdate":"July 28th, 2017","path":"/trulyca/2026/f-r-e-e","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"alignnone size-full wp-image-2629\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2017/07/free.png\" alt=\"\" width=\"672\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2017/07/free.png 672w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-240x133.png 240w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-375x208.png 375w, https://ww2.kqed.org/app/uploads/sites/29/2017/07/free-520x288.png 520w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003c/p>\n\u003cp>\u003cem>F R E E\u003c/em> is an award-winning documentary that follows five teens through a life-changing year with the Destiny Arts Youth Performance Company in Oakland, California.\u003c/p>\n\u003cp>Each year, a diverse group of teens audition for a spot at Destiny Arts, where they will spend months working together to create an emotionally charged performance based on their lives. However, in a city plagued by violence and high student dropout rates, can they fight the external forces to complete their study?\u003c/p>\n\u003cp>Central to the film are the stories of five youth: Jamany, who once thought guns, violence, and drugs were the way to fit in who barely escapes juvenile hall; Tilly, who has little outlet for the pain of a difficult relationship with her girlfriend and resorts to self-harm; Nee Nee, who lives with her mother recently diagnosed with breast cancer and unable to pay the water bill; Alaysia, a young woman trying to cope with childhood sexual trauma; and Omar, who has been through 11 foster homes and is living with HIV.\u003c/p>\n\u003cp>As they unite to create their production, the teens find their voice and a community.\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>Under the careful guidance of Destiny’s Artistic Director Sarah Crowell, their journey reveals how collaborative art can be a foundation for personal strength, liberation, and hope.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/2026/f-r-e-e","authors":["11272"],"programs":["trulyca_771"],"series":["trulyca_57"],"categories":["trulyca_45","trulyca_30","trulyca_34","trulyca_35","trulyca_46"],"tags":["trulyca_86","trulyca_90","trulyca_146","trulyca_148","trulyca_83","trulyca_145","trulyca_68","trulyca_60","trulyca_147","trulyca_505","trulyca_149","trulyca_761","trulyca_99","trulyca_28"],"collections":["trulyca_81","trulyca_80"],"featImg":"trulyca_2028","label":"trulyca_771"},"trulyca_1320":{"type":"posts","id":"trulyca_1320","meta":{"index":"posts_1716263798","site":"trulyca","id":"1320","score":null,"sort":[1449220666000]},"parent":0,"labelTerm":{"site":"trulyca","term":771},"blocks":[],"publishDate":1449220666,"format":"video","disqusTitle":"Big Joy: The Adventures of James Broughton","title":"Big Joy: The Adventures of James Broughton","headTitle":"Season 11 | Truly CA | Truly CA | KQED Arts","content":"\u003cp>\u003cem class=\"video_caption\">Watch this entire \u003cstrong>Truly CA\u003c/strong> episode: \u003cstrong>Big Joy\u003c/strong> by filmmakers Stephen Silha, Eric Slade and Dawn Logsdon. (Running Time: 53:52)\u003c/em>\u003c/p>\n\u003cp>A key player in the artistic renaissance of San Francisco after World War II, James Broughton fathered a child with film critic Pauline Kael, wrote poetry alongside Allen Ginsberg and Lawrence Ferlinghetti, received an award from Jean Cocteau at Cannes, and went on to push the boundaries of artistic expression and sexual liberation.\u003c/p>\n\u003cp>While celebrating the impact of Broughton’s art, \u003cem>Big Joy: The Adventures of James Broughton\u003c/em> also explores his deeply intertwined creative and personal lives. For a man who joyfully embraced life and preached \"follow your own weird,\" the repressive McCarthy era brought inner turmoil and even an attempt to \"straighten himself out.\" Ultimately, Broughton's experimental films and poetry helped free both his own spirit and that of a new generation, and at the young age of 61, he met the love of his life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","disqusIdentifier":"1320 http://ww2.kqed.org/trulyca/?p=1320","disqusUrl":"https://ww2.kqed.org/trulyca/big-joy/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":164,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1538002441,"excerpt":"Poet and filmmaker James Broughton (1913-1999) lived by the motto \"follow your own weird.\" His remarkable story spans the Beat generation, his escape to Europe during the McCarthy years and his ascendancy as a revered bard of sexual liberation.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Poet and filmmaker James Broughton (1913-1999) lived by the motto "follow your own weird." His remarkable story spans the Beat generation, his escape to Europe during the McCarthy years and his ascendancy as a revered bard of sexual liberation.","title":"Big Joy: The Adventures of James Broughton | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Big Joy: The Adventures of James Broughton","datePublished":"2015-12-04T01:17:46-08:00","dateModified":"2018-09-26T15:54:01-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"big-joy","status":"publish","videoEmbed":"https://www.youtube.com/watch?v=uTB1OUqVeSk","originalAirdate":"November 15, 2015","path":"/trulyca/1320/big-joy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem class=\"video_caption\">Watch this entire \u003cstrong>Truly CA\u003c/strong> episode: \u003cstrong>Big Joy\u003c/strong> by filmmakers Stephen Silha, Eric Slade and Dawn Logsdon. (Running Time: 53:52)\u003c/em>\u003c/p>\n\u003cp>A key player in the artistic renaissance of San Francisco after World War II, James Broughton fathered a child with film critic Pauline Kael, wrote poetry alongside Allen Ginsberg and Lawrence Ferlinghetti, received an award from Jean Cocteau at Cannes, and went on to push the boundaries of artistic expression and sexual liberation.\u003c/p>\n\u003cp>While celebrating the impact of Broughton’s art, \u003cem>Big Joy: The Adventures of James Broughton\u003c/em> also explores his deeply intertwined creative and personal lives. For a man who joyfully embraced life and preached \"follow your own weird,\" the repressive McCarthy era brought inner turmoil and even an attempt to \"straighten himself out.\" Ultimately, Broughton's experimental films and poetry helped free both his own spirit and that of a new generation, and at the young age of 61, he met the love of his life.\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":"/trulyca/1320/big-joy","authors":["21"],"programs":["trulyca_771"],"series":["trulyca_27"],"categories":["trulyca_33","trulyca_38","trulyca_21","trulyca_34","trulyca_35","trulyca_29"],"tags":["trulyca_86","trulyca_64","trulyca_220","trulyca_250","trulyca_90","trulyca_253","trulyca_252","trulyca_257","trulyca_256","trulyca_254","trulyca_60","trulyca_255","trulyca_82","trulyca_251","trulyca_99","trulyca_28"],"collections":["trulyca_81","trulyca_80"],"featImg":"trulyca_1315","label":"trulyca_771"},"trulyca_91":{"type":"posts","id":"trulyca_91","meta":{"index":"posts_1716263798","site":"trulyca","id":"91","score":null,"sort":[1352656800000]},"parent":0,"labelTerm":{"site":"trulyca","term":771},"blocks":[],"publishDate":1352656800,"format":"video","disqusTitle":"Stage Left: A Story of Theater in San Francisco","title":"Stage Left: A Story of Theater in San Francisco","headTitle":"Season 8 | Truly CA | Truly CA | KQED Arts","content":"\u003cp>https://www.youtube.com/watch?v=hR1Zl18pX_w\u003c/p>\n\u003cp>\u003cem class=\"video_caption\">See a preview of this \u003cstrong>Truly CA\u003c/strong> episode. \u003c/em>\u003c/p>\n\u003cp>San Francisco's history of risk-taking exploration and the Bay Area's diverse local cultures and climate of social activism have long provided artists with a perfect storm of inspiration. It's no surprise that amidst this collision the definition of experimental theatrical form has taken center stage in San Francisco. Their interest in redefining performance -- where it takes place, how it is staged, and what it encompasses -- has influenced theater in the United States and around the world.\u003c/p>\n\u003cp>On any given day in the last 50 years, someone in the Bay Area might attend a performance for a theatrical political protest, a bacchanalian festival, a humorous satire, a surrealist manifesto, a gay fantasia, or perhaps all of the above. \u003cstrong>Stage Left\u003c/strong> traces the evolution of this rich culture, including the San Francisco Actor's Workshop, which premiered and staged works by the most avant-garde playwrights of its day; the San Francisco Mime Troupe with its long history of political engagement; the Magic Theatre's fruitful relationship with playwright Sam Shepard; El Teatro Campesino, the world's first Chicano theater; the Cockettes and Theater Rhinoceros, who reveled in alternative and gay culture; the groundbreaking experimentation in the 70s and 80s of George Coates, Soon 3, Snake Theater, The Blake Street Hawkeyes, and Antenna Theater; and the world premiere of \u003cem>Angels in America\u003c/em> at the Eureka Theater in 1991.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","disqusIdentifier":"91 http://kqed2.wsmtechs.net/trulyca/stage-left-a-story-of-theater-in-san-francisco/","disqusUrl":"https://ww2.kqed.org/trulyca/stage-left-a-story-of-theater-in-san-francisco/","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":248,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1537995156,"excerpt":"From the founding of the Actor's Workshop in 1952 through present day, experimentation and political consciousness have become hallmarks of San Francisco's theater community. \u003cstrong>Stage Left\u003c/strong> is a colorful history of the intriguing, influential and often outrageous theatrical innovations of Bay Area artists.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"From the founding of the Actor's Workshop in 1952 through present day, experimentation and political consciousness have become hallmarks of San Francisco's theater community. Stage Left is a colorful history of the intriguing, influential and often outrageous theatrical innovations of Bay Area artists.","title":"Stage Left: A Story of Theater in San Francisco | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stage Left: A Story of Theater in San Francisco","datePublished":"2012-11-11T10:00:00-08:00","dateModified":"2018-09-26T13:52:36-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"stage-left-a-story-of-theater-in-san-francisco","status":"publish","originalAirdate":"November 11, 2012","path":"/trulyca/91/stage-left-a-story-of-theater-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hR1Zl18pX_w'\n title='//www.youtube.com/embed/hR1Zl18pX_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem class=\"video_caption\">See a preview of this \u003cstrong>Truly CA\u003c/strong> episode. \u003c/em>\u003c/p>\n\u003cp>San Francisco's history of risk-taking exploration and the Bay Area's diverse local cultures and climate of social activism have long provided artists with a perfect storm of inspiration. It's no surprise that amidst this collision the definition of experimental theatrical form has taken center stage in San Francisco. Their interest in redefining performance -- where it takes place, how it is staged, and what it encompasses -- has influenced theater in the United States and around the world.\u003c/p>\n\u003cp>On any given day in the last 50 years, someone in the Bay Area might attend a performance for a theatrical political protest, a bacchanalian festival, a humorous satire, a surrealist manifesto, a gay fantasia, or perhaps all of the above. \u003cstrong>Stage Left\u003c/strong> traces the evolution of this rich culture, including the San Francisco Actor's Workshop, which premiered and staged works by the most avant-garde playwrights of its day; the San Francisco Mime Troupe with its long history of political engagement; the Magic Theatre's fruitful relationship with playwright Sam Shepard; El Teatro Campesino, the world's first Chicano theater; the Cockettes and Theater Rhinoceros, who reveled in alternative and gay culture; the groundbreaking experimentation in the 70s and 80s of George Coates, Soon 3, Snake Theater, The Blake Street Hawkeyes, and Antenna Theater; and the world premiere of \u003cem>Angels in America\u003c/em> at the Eureka Theater in 1991.\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":"/trulyca/91/stage-left-a-story-of-theater-in-san-francisco","authors":["8666"],"programs":["trulyca_771"],"series":["trulyca_10"],"categories":["trulyca_30","trulyca_38","trulyca_21","trulyca_34","trulyca_35"],"tags":["trulyca_344","trulyca_345","trulyca_220","trulyca_360","trulyca_359","trulyca_342","trulyca_353","trulyca_349","trulyca_60","trulyca_69","trulyca_357","trulyca_358","trulyca_82","trulyca_355","trulyca_356","trulyca_347","trulyca_352","trulyca_348","trulyca_354","trulyca_346","trulyca_351","trulyca_361","trulyca_350","trulyca_343","trulyca_99","trulyca_28"],"collections":["trulyca_81","trulyca_80"],"featImg":"trulyca_2604","label":"trulyca_771"},"trulyca_47":{"type":"posts","id":"trulyca_47","meta":{"index":"posts_1716263798","site":"trulyca","id":"47","score":null,"sort":[1131904800000]},"parent":0,"labelTerm":{"site":"trulyca","term":3},"blocks":[],"publishDate":1131904800,"format":"quote","disqusTitle":"Let All the Stories Be Told","title":"Let All the Stories Be Told","headTitle":"Season 1 | Truly CA | KQED Arts","content":"\u003cp>\"TO WHOMEVER FINDS THIS NOTE: Collect all the tapes, all the writing, all the history. The story of this moment, of this action, must be examined over and over. It must be understood in all of its incredible dimensions. Let all the story of this People's Temple be told. Let all the books be opened. If nobody understands, it matters not. I am ready to die now. Darkness settles over Jonestown on our last day on earth.\"\u003cbr>\n-From a handwritten letter found recently in the People's Temple FBI files at the California Historical Society.\u003c/p>\n\u003cp>On November 18th, 1978, college students David Dower and his future wife Denice Stephenson were shocked by breaking news reports that several hundred Americans had been found dead in the jungles of Guyana, apparent victims of a mass suicide. The dead were identified as 913 residents of the agricultural project called Jonestown, led by the Reverend Jim Jones. Jones was the charismatic leader of The People's Temple -- a radical interracial religious group that had recently fled the Bay Area amidst scandalous reports about the group in the local press and Jones' subsequent paranoia. Twenty-five years later, the exact circumstances of the mass murder-suicide at Jonestown remained shrouded in mystery and controversy.\u003c/p>\n\u003cp>After college, Dower moved to the San Francisco Bay Area and embarked on a career in theater, first as an actor, eventually as artistic director of Z Space Studio, a theatrical development organization in San Francisco. Over the years, he was drawn back to the story of Jonestown again and again, searching for the meaning of the mind numbing tragedy there, and a way to present it in a theatrical context. With its tangled web of conflicting eyewitness accounts, the story is daunting in its scope and complexity. Whose version of the truth should be presented? How could any re-telling move the audience beyond their horror and fascination with the morbid details of the murder/suicide, to a more insightful understanding of why and how it happened?\u003c/p>\n\u003cp>In January of 2001, Dower commissioned Leigh Fondakowski, head writer of \u003cb>The Laramie Project\u003c/b>, to create and direct a new play about Jonestown. Fondakowski, along with a team of three writers and an archivist, began by combing through the collection of People's Temple materials at the California Historical Society, where they unearthed oral histories taken in Jonestown. They learned that 80 people survived that day in Guyana and that there were hundreds of members of the People's Temple who were residing in the United States at the time of the tragedy. But where were these people now, 25 years later, and would they be willing to open up the wounds of the past to share their stories and insights?\u003c/p>\n\u003cp>For nearly two years, Fondakowski and her team worked tirelessly to locate and gain the trust of dozens of Jonestown survivors, People's Temple members and victims' families. They went on to conduct hundreds of hours of interviews. The verbatim words of those interviews along with documents and letters discovered in the archive would eventually comprise the entire text of the play, The People's Temple.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"You can't imagine you know all the guilt I feel about the decisions I made, if I'd made others it might have saved lives, might of changed events ... if I'd only done this -- if I'd only known ... you know, pile on to that how poorly I loved the people in my life when they were alive, you know, and then to lose them just like that -- they're gone. We never believed Dad would go through with that you know and like looking back, that's pretty -- delusional. But, you just have to know the whole story -- you just have to know my father.\"\u003cbr>\n-from an interview with Stephan Jones, the son of Jim Jones\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, it took Fondakowski and her team nearly four years to develop the script -- a process that entailed conducting work-in-progress readings with actors in cities on both coasts, with highly vocal audiences that included survivors who are portrayed by actors on stage. The process of collecting new interview material, soliciting responses from audiences, and editing and adding to the script continued right up until the time that the play premiered at the Berkeley Repertory Theatre in April 2005.\u003c/p>\n\n","disqusIdentifier":"47 http://kqed2.wsmtechs.net/trulyca/let-all-the-stories-be-told/","disqusUrl":"https://ww2.kqed.org/trulyca/let-all-the-stories-be-told/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":726,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":9},"modified":1538420462,"excerpt":"\u003cstrong> Let All the Stories Be Told\u003c/strong> follows a group of theater artists from the beginning stages of a work -- based on the 1978 mass murder/suicide by members of the Peoples Temple in Jonestown, Guyana -- to opening night at the Berkeley Repertory Theater.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":" Let All the Stories Be Told follows a group of theater artists from the beginning stages of a work -- based on the 1978 mass murder/suicide by members of the Peoples Temple in Jonestown, Guyana -- to opening night at the Berkeley Repertory Theater.","title":"Let All the Stories Be Told | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Let All the Stories Be Told","datePublished":"2005-11-13T10:00:00-08:00","dateModified":"2018-10-01T12:01:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"let-all-the-stories-be-told","status":"publish","originalAirdate":"November 13, 2005","path":"/trulyca/47/let-all-the-stories-be-told","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"TO WHOMEVER FINDS THIS NOTE: Collect all the tapes, all the writing, all the history. The story of this moment, of this action, must be examined over and over. It must be understood in all of its incredible dimensions. Let all the story of this People's Temple be told. Let all the books be opened. If nobody understands, it matters not. I am ready to die now. Darkness settles over Jonestown on our last day on earth.\"\u003cbr>\n-From a handwritten letter found recently in the People's Temple FBI files at the California Historical Society.\u003c/p>\n\u003cp>On November 18th, 1978, college students David Dower and his future wife Denice Stephenson were shocked by breaking news reports that several hundred Americans had been found dead in the jungles of Guyana, apparent victims of a mass suicide. The dead were identified as 913 residents of the agricultural project called Jonestown, led by the Reverend Jim Jones. Jones was the charismatic leader of The People's Temple -- a radical interracial religious group that had recently fled the Bay Area amidst scandalous reports about the group in the local press and Jones' subsequent paranoia. Twenty-five years later, the exact circumstances of the mass murder-suicide at Jonestown remained shrouded in mystery and controversy.\u003c/p>\n\u003cp>After college, Dower moved to the San Francisco Bay Area and embarked on a career in theater, first as an actor, eventually as artistic director of Z Space Studio, a theatrical development organization in San Francisco. Over the years, he was drawn back to the story of Jonestown again and again, searching for the meaning of the mind numbing tragedy there, and a way to present it in a theatrical context. With its tangled web of conflicting eyewitness accounts, the story is daunting in its scope and complexity. Whose version of the truth should be presented? How could any re-telling move the audience beyond their horror and fascination with the morbid details of the murder/suicide, to a more insightful understanding of why and how it happened?\u003c/p>\n\u003cp>In January of 2001, Dower commissioned Leigh Fondakowski, head writer of \u003cb>The Laramie Project\u003c/b>, to create and direct a new play about Jonestown. Fondakowski, along with a team of three writers and an archivist, began by combing through the collection of People's Temple materials at the California Historical Society, where they unearthed oral histories taken in Jonestown. They learned that 80 people survived that day in Guyana and that there were hundreds of members of the People's Temple who were residing in the United States at the time of the tragedy. But where were these people now, 25 years later, and would they be willing to open up the wounds of the past to share their stories and insights?\u003c/p>\n\u003cp>For nearly two years, Fondakowski and her team worked tirelessly to locate and gain the trust of dozens of Jonestown survivors, People's Temple members and victims' families. They went on to conduct hundreds of hours of interviews. The verbatim words of those interviews along with documents and letters discovered in the archive would eventually comprise the entire text of the play, The People's Temple.\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>\"You can't imagine you know all the guilt I feel about the decisions I made, if I'd made others it might have saved lives, might of changed events ... if I'd only done this -- if I'd only known ... you know, pile on to that how poorly I loved the people in my life when they were alive, you know, and then to lose them just like that -- they're gone. We never believed Dad would go through with that you know and like looking back, that's pretty -- delusional. But, you just have to know the whole story -- you just have to know my father.\"\u003cbr>\n-from an interview with Stephan Jones, the son of Jim Jones\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, it took Fondakowski and her team nearly four years to develop the script -- a process that entailed conducting work-in-progress readings with actors in cities on both coasts, with highly vocal audiences that included survivors who are portrayed by actors on stage. The process of collecting new interview material, soliciting responses from audiences, and editing and adding to the script continued right up until the time that the play premiered at the Berkeley Repertory Theatre in April 2005.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/trulyca/47/let-all-the-stories-be-told","authors":["8666"],"series":["trulyca_3"],"categories":["trulyca_21","trulyca_34","trulyca_35"],"tags":["trulyca_90","trulyca_606","trulyca_604","trulyca_83","trulyca_602","trulyca_603","trulyca_60","trulyca_607","trulyca_601","trulyca_605","trulyca_350","trulyca_99","trulyca_28"],"featImg":"trulyca_2798","label":"trulyca_3"},"trulyca_46":{"type":"posts","id":"trulyca_46","meta":{"index":"posts_1716263798","site":"trulyca","id":"46","score":null,"sort":[1128272400000]},"parent":0,"labelTerm":{"site":"trulyca","term":3},"blocks":[],"publishDate":1128272400,"format":"quote","disqusTitle":"Art and Life","title":"Art and Life","headTitle":"Season 1 | Truly CA | KQED Arts","content":"\u003cp>An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, \u003cb>Art and Life: Finding the Thread\u003c/b> offers a unique perspective on the human experience. Shot by the well-known Russian documentary filmmaker Marina Goldovskaya over the course of six years, the film moves effortlessly between the intimate and public worlds Sellars occupies, carrying on a thought-provoking dialogue that stays with the viewer long after the last images have faded from view.\u003c/p>\n\u003cp>Various aspects of Sellars's multifaceted life are carefully and respectfully portrayed in Goldovskaya's trademark cinematographic style. The film begins with an intimate tea-making ceremony at Sellars's beloved home, which quickly becomes as dramatic as the rest of his colorful existence. His living space is filled with masks, on which Goldovskaya focuses as a subtle commentary upon the many \"masks\" that Sellars wears: the many worlds he inhabits, the many roles he fills. But masks and masquerades suggest deception, whereas there is a genuine honesty within Sellars, an honesty that is revealed throughout the film. In his quest to connect the disparate threads of art and life, Sellars challenges assumptions, questions authority and stays true to himself. His artistic integrity is inexorably tied to the integrity and passion with which he operates on a daily basis.\u003c/p>\n\u003cp>The film's exploration of Sellars's worlds continues as the camera captures his participation in various public ceremonies as part of his teaching at UCLA. An obviously brilliant teacher, Sellars challenges his students to think for themselves, then to go beyond that to put those thoughts into action.\u003c/p>\n\u003cp>Sellars's activism and his unique approach to theater are showcased during the filmed rehearsals of his production of Jean Genet's rarely performed play \u003cb>The Screens,\u003c/b> adapted by poet Gloria Alvarez to fit the politically charged climate of East Los Angeles. The cast members, mostly nonprofessional actors drawn from the local Boyle Heights community, grow and change during the course of the production, indelibly affected in a way that resonates years later as Goldovskaya returns to film a moving reunion.\u003c/p>\n\u003cp>Students, colleagues and friends all speak of Sellars with a deep respect and love that cannot be hidden. But it is when he speaks for himself, as he does through much of the film, that the self-styled \"elusive\" Sellars becomes uniquely approachable and passionately human. Animated and mobile, when seen through Goldovskaya's inquisitive lens, Sellars is like a puzzle box with numerous compartments, revealing an inner complexity and beauty that hint at even greater depths. Though Sellars denies there is a unifying thread that can be pulled through the body of the film, he himself is that thread -- his passion, his individuality, his creativity, his commitment to social issues all shine through like a bright inner light to illuminate the lives of those around him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","disqusIdentifier":"46 http://kqed2.wsmtechs.net/trulyca/art-and-life/","disqusUrl":"https://ww2.kqed.org/trulyca/art-and-life/","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":478,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":7},"modified":1538419830,"excerpt":"An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, \u003cstrong> Art and Life: Finding the Thread\u003c/strong> offers a unique perspective on the human experience.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, Art and Life: Finding the Thread offers a unique perspective on the human experience.","title":"Art and Life | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Art and Life","datePublished":"2005-10-02T10:00:00-07:00","dateModified":"2018-10-01T11:50:30-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"art-and-life","status":"publish","originalAirdate":"October 2, 2005","path":"/trulyca/46/art-and-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An extraordinary foray into the many worlds of renowned artist, opera/theater director, activist and professor Peter Sellars, \u003cb>Art and Life: Finding the Thread\u003c/b> offers a unique perspective on the human experience. Shot by the well-known Russian documentary filmmaker Marina Goldovskaya over the course of six years, the film moves effortlessly between the intimate and public worlds Sellars occupies, carrying on a thought-provoking dialogue that stays with the viewer long after the last images have faded from view.\u003c/p>\n\u003cp>Various aspects of Sellars's multifaceted life are carefully and respectfully portrayed in Goldovskaya's trademark cinematographic style. The film begins with an intimate tea-making ceremony at Sellars's beloved home, which quickly becomes as dramatic as the rest of his colorful existence. His living space is filled with masks, on which Goldovskaya focuses as a subtle commentary upon the many \"masks\" that Sellars wears: the many worlds he inhabits, the many roles he fills. But masks and masquerades suggest deception, whereas there is a genuine honesty within Sellars, an honesty that is revealed throughout the film. In his quest to connect the disparate threads of art and life, Sellars challenges assumptions, questions authority and stays true to himself. His artistic integrity is inexorably tied to the integrity and passion with which he operates on a daily basis.\u003c/p>\n\u003cp>The film's exploration of Sellars's worlds continues as the camera captures his participation in various public ceremonies as part of his teaching at UCLA. An obviously brilliant teacher, Sellars challenges his students to think for themselves, then to go beyond that to put those thoughts into action.\u003c/p>\n\u003cp>Sellars's activism and his unique approach to theater are showcased during the filmed rehearsals of his production of Jean Genet's rarely performed play \u003cb>The Screens,\u003c/b> adapted by poet Gloria Alvarez to fit the politically charged climate of East Los Angeles. The cast members, mostly nonprofessional actors drawn from the local Boyle Heights community, grow and change during the course of the production, indelibly affected in a way that resonates years later as Goldovskaya returns to film a moving reunion.\u003c/p>\n\u003cp>Students, colleagues and friends all speak of Sellars with a deep respect and love that cannot be hidden. But it is when he speaks for himself, as he does through much of the film, that the self-styled \"elusive\" Sellars becomes uniquely approachable and passionately human. Animated and mobile, when seen through Goldovskaya's inquisitive lens, Sellars is like a puzzle box with numerous compartments, revealing an inner complexity and beauty that hint at even greater depths. Though Sellars denies there is a unifying thread that can be pulled through the body of the film, he himself is that thread -- his passion, his individuality, his creativity, his commitment to social issues all shine through like a bright inner light to illuminate the lives of those around him.\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":"/trulyca/46/art-and-life","authors":["8666"],"series":["trulyca_3"],"categories":["trulyca_21","trulyca_35","trulyca_29"],"tags":["trulyca_86","trulyca_626","trulyca_64","trulyca_83","trulyca_256","trulyca_60","trulyca_627","trulyca_629","trulyca_149","trulyca_628","trulyca_350","trulyca_99","trulyca_28"],"featImg":"trulyca_2795","label":"trulyca_3"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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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":"2"},"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. 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