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"caption": "'Guess Who's Coming to Dinner' arrived in theaters six months to the day after interracial marriage was legalized by the Loving v. Virginia Supreme Court decision in 1967. Above, Sidney Poitier, from left, Katharine Houghton and Spencer Tracy.\n(George Rinhart/Corbis via Getty Images)",
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"disqusTitle": "50 Years After 'Loving,' Hollywood Still Struggles With Interracial Romance",
"title": "50 Years After 'Loving,' Hollywood Still Struggles With Interracial Romance",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Fifty years ago, on June 12, 1967, the Supreme Court's decision in \u003cem>Loving v. Virginia\u003c/em> legalized interracial marriage. Just two weeks earlier, shooting had been completed on a movie about that very subject — Stanley Kramer's soon-to-be-classic, Oscar-winning, box-office smash \u003cem>Guess Who's Coming To Dinner,\u003c/em> starring Spencer Tracy, Katharine Houghton and Sidney Poitier.\u003c/p>\n\u003cp>Profits are a powerful motivator for Hollywood studios. So it might seem obvious that a blockbusting indicator of audience acceptance for interracial romance on-screen would lead to studios greenlighting more of them. But prejudices in Hollywood were as long-standing as they were elsewhere in society. Those prejudices did not disappear overnight, and the film industry did not embrace mixed-race couples on-screen.\u003c/p>\n\u003cp>There had been interracial screen romances, even in the silent era, but they were almost always pictured as either comically foolish or flat-out doomed. D.W. Griffith ended his silent tragedy \u003cem>Broken Blossoms Or the Yellow Man and the Girl\u003c/em> with the deaths of both his title characters — a Chinese immigrant and a London prizefighter's daughter.\u003c/p>\n\u003cp>The silent drama \u003cem>The Bronze Bride,\u003c/em> about a white fur trapper who marries a Native American woman, also ended with tears. And in \u003cem>Show Boat\u003c/em> in 1936, things end happily for nearly everyone except Julie, the wife of the showboat's white leading man. She is of mixed race, but has been passing as white.\u003c/p>\n\u003cp>In the song \"Can't Help Lovin' That Man of Mine,\" Julie sings of being helplessly in love, and her husband is devoted to her. But she will nonetheless end up drunk and alone at the film's end, looking from the shadows at the happier characters who have married within their own race.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In that, she had lots of company on-screen. Hollywood had adopted a Motion Picture Production Code in 1930 — popularly known as the Hays Code for its author, Will H. Hays, president of the Motion Picture Producers and Distributors of America — which explicitly prohibited the depiction of \"sex relationships between the white and black races.\" The code was meant to curb what bluenoses of that era considered immorality, and with interracial marriage then illegal in 30 states, depicting it would arguably have been condoning an illegal act.\u003c/p>\n\u003cp>Though \u003cem>Show Boat\u003c/em> had been a hit on Broadway, movie theaters, especially in the South, might well have refused to play it even with the Production Code seal of approval. But the filmmakers had a trick to get around objections — a casting gambit used in many motion pictures of that era: Audiences were not actually seeing a black/white couple on-screen, because the biracial character was played by Helen Morgan, a white actress. Griffith had done the same thing in \u003cem>Broken Blossoms, \u003c/em>casting a heavily made-up Richard Barthelmess as Chinese immigrant Cheng Huan.\u003c/p>\n\u003cp>The same thing happened when \u003cem>Show Boat\u003c/em> was remade in 1951. Although Lena Horne campaigned hard for the role, Ava Gardner was cast as Julie, and not only was she not black, she wasn't even singing (though she certainly could have; she recorded a vocal track they ended up not using that is lighter and more contemporary to modern ears).\u003c/p>\n\u003cp>Colorblind and, in several different senses, tone-deaf, this qualified as Hollywood artificiality at its peak. And it followed close on the heels of another drama Horne had campaigned for, \u003cem>Pinky,\u003c/em> about another character who was passing as white. That part went to Jeanne Crain, for whom passing was relatively easy, as she was white. She got an Oscar nomination as best actress for pretending not to be.\u003c/p>\n\u003cp>Foreign films weren't as timid. In 1935, Josephine Baker — who had moved to Paris because of racial prejudice in the U.S. and was becoming a big star there — starred in the French-made \u003cem>Princess Tam Tam,\u003c/em> playing a Tunisian woman who is the muse of a white French novelist.\u003c/p>\n\u003cp>In the U.S., though, because of the Hays Code, that film and others like it played only in theaters catering strictly to black patrons. Then, in 1956, the code was revised, and the stipulation about race was dropped, which allowed a blonde Inger Stevens to have what was, at the time, an incendiary conversation with Harry Belafonte in \u003cem>The World, The Flesh and The Devil,\u003c/em> a science-fiction film in which a nuclear war had left the two of them virtually alone in the world. \u003cem>(Note: The dialogue below contains language some readers may find offensive.)\u003c/em>\u003c/p>\n\u003cp>Stevens has asked Belafonte to be honest with her, and Belafonte has responded that if she pushes, he'll be \"so honest it'll burn you.\"\u003c/p>\n\u003cp>When she does push, he erupts in fury: \"If you're squeamish about words, I'm 'colored.' If you face facts I'm a Negro. If you're a polite Southerner, I'm a 'Negra,' and I'm a 'nigger' if you're not. ... A little while ago, you said you were 'free, white and 21.' That didn't mean anything to you. Just an expression you'd heard a thousand times. Well, to me it was an arrow in my guts.\"\u003c/p>\n\u003cp>Stevens asks for help getting it right: \"You're a fine, decent man; what else is there to know?\"\u003c/p>\n\u003cp>\"[In] that world we came from you wouldn't know that,\" Belafonte's character replies. \"You wouldn't even know me. Why should the world fall down to prove I'm what I am, and that there's nothing wrong with what I am?\"\u003c/p>\n\u003cp>Good question, and others were asking it, too: In the British film \u003cem>A Taste of Honey,\u003c/em> Rita Tushingham gets pregnant by a black sailor and decides to keep the baby. Hollywood's first interracial kiss appeared in the drama \u003cem>Island in the Sun.\u003c/em> And the era-defining \u003cem>Guess Who's Coming to Dinner\u003c/em> arrived in theaters six months to the day after interracial marriage was legalized by the \u003cem>Loving\u003c/em> decision.\u003c/p>\n\u003cp>Lawyers only had to make their closing argument to nine Supreme Court justices. Spencer Tracy's summation went out to more than 40 million moviegoers, when he said this to Sidney Poitier and Katharine Houghton:\u003c/p>\n\u003cblockquote>\u003cp>\" 'Anybody could make a case — and a helluva good case — against your getting married,' he says. 'The arguments are so obvious that nobody has to make them. But you're two wonderful people, who happened to fall in love, and happen to have a pigmentation problem. And I think that now, no matter what kind of a case some bastard could make against your getting married, there would be only one thing worse. And that would be if, knowing what you two are, knowing what you two have, and knowing what you two feel, you didn't get married.' \"\u003c/p>\u003c/blockquote>\n\u003cp>And that broke the logjam, right?\u003c/p>\n\u003cp>No, not really. Hollywood spent the rest of the 20th century debating how to follow \u003cem>Guess Who's Coming To Dinner,\u003c/em> and mostly deciding not to.\u003c/p>\n\u003cfigure id=\"attachment_86018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-86018 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Williams and Daniel Kaluuya star in Jordan Peele's 'Get Out'.\u003cbr> (Justin Lubin/Courtesy of Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Bromances with black-white pairings were fine — say, the \u003cem>Lethal Weapon\u003c/em> franchise. Producers who could attract stars of sufficient wattage — say Kevin Costner at the height of his fame, and Whitney Houston at the height of hers — could dare audiences to resist their pairing in a film like \u003cem>The Bodyguard\u003c/em>. And there were occasional problem-dramas that tackled the issue head-on as an issue — Spike Lee's \u003cem>Jungle Fever,\u003c/em> for instance, or the lesbian interracial romance \u003cem>The Watermelon Woman\u003c/em>.\u003c/p>\n\u003cp>But for many in Hollywood, the risk of alienating some part of the audience has not seemed a risk worth taking on a multimillion-dollar budget. So Will Smith and Denzel Washington have spent most of their careers appearing opposite African-American love interests, and Brad Pitt and Tom Cruise have not. Never mind that multiracial casting has been a boon at the box office for, say, the \u003cem>Fast and Furious\u003c/em> films.\u003c/p>\n\u003cp>There are, of course, outliers. Jordan Peele's satirical dramedy \u003cem>Get Out\u003c/em> is a witty look at social stereotyping, which uses race to subvert and amplify horror tropes. With a first-time director, \u003cem>Get Out\u003c/em> has taken in almost a quarter of a billion dollars at the worldwide box office.\u003c/p>\n\u003cp>Also this year, in \u003cem>Everything, Everything,\u003c/em> an African-American girl-in-a-bubble and a white neighbor fall in love. The supporting cast of \u003cem>Beauty and the Beast\u003c/em> turned out to have two interracial couples, once the magic spell was broken. And in the upcoming comedy \u003cem>The Big Sick,\u003c/em> Kumail Nanjiani will tell the true story of how he, a man of Pakistani descent, met his Caucasian wife.\u003c/p>\n\u003cp>These films, let's note, make sense in the current movie marketplace, especially for younger viewers. The Pew Research Center \u003ca href=\"http://www.pewsocialtrends.org/2017/05/18/intermarriage-in-the-u-s-50-years-after-loving-v-virginia/#fn-22844-2\" target=\"_blank\" rel=\"noopener noreferrer\">recently reported\u003c/a> that in 2015, the most recent year for which figures are available, \"17 percent of all U.S. newlyweds had a spouse of a different race or ethnicity.\" That compares with 3 percent in 1967 — the year of the \u003cem>Loving\u003c/em> decision and of \u003cem>Guess Who's Coming to Dinner.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The nation has changed, and Hollywood will, too. At the moment, though, it's still playing catch-up.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+After+%27Loving%2C%27+Hollywood+Still+Struggles+With+Interracial+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, on June 12, 1967, the Supreme Court's decision in \u003cem>Loving v. Virginia\u003c/em> legalized interracial marriage. Just two weeks earlier, shooting had been completed on a movie about that very subject — Stanley Kramer's soon-to-be-classic, Oscar-winning, box-office smash \u003cem>Guess Who's Coming To Dinner,\u003c/em> starring Spencer Tracy, Katharine Houghton and Sidney Poitier.\u003c/p>\n\u003cp>Profits are a powerful motivator for Hollywood studios. So it might seem obvious that a blockbusting indicator of audience acceptance for interracial romance on-screen would lead to studios greenlighting more of them. But prejudices in Hollywood were as long-standing as they were elsewhere in society. Those prejudices did not disappear overnight, and the film industry did not embrace mixed-race couples on-screen.\u003c/p>\n\u003cp>There had been interracial screen romances, even in the silent era, but they were almost always pictured as either comically foolish or flat-out doomed. D.W. Griffith ended his silent tragedy \u003cem>Broken Blossoms Or the Yellow Man and the Girl\u003c/em> with the deaths of both his title characters — a Chinese immigrant and a London prizefighter's daughter.\u003c/p>\n\u003cp>The silent drama \u003cem>The Bronze Bride,\u003c/em> about a white fur trapper who marries a Native American woman, also ended with tears. And in \u003cem>Show Boat\u003c/em> in 1936, things end happily for nearly everyone except Julie, the wife of the showboat's white leading man. She is of mixed race, but has been passing as white.\u003c/p>\n\u003cp>In the song \"Can't Help Lovin' That Man of Mine,\" Julie sings of being helplessly in love, and her husband is devoted to her. But she will nonetheless end up drunk and alone at the film's end, looking from the shadows at the happier characters who have married within their own race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In that, she had lots of company on-screen. Hollywood had adopted a Motion Picture Production Code in 1930 — popularly known as the Hays Code for its author, Will H. Hays, president of the Motion Picture Producers and Distributors of America — which explicitly prohibited the depiction of \"sex relationships between the white and black races.\" The code was meant to curb what bluenoses of that era considered immorality, and with interracial marriage then illegal in 30 states, depicting it would arguably have been condoning an illegal act.\u003c/p>\n\u003cp>Though \u003cem>Show Boat\u003c/em> had been a hit on Broadway, movie theaters, especially in the South, might well have refused to play it even with the Production Code seal of approval. But the filmmakers had a trick to get around objections — a casting gambit used in many motion pictures of that era: Audiences were not actually seeing a black/white couple on-screen, because the biracial character was played by Helen Morgan, a white actress. Griffith had done the same thing in \u003cem>Broken Blossoms, \u003c/em>casting a heavily made-up Richard Barthelmess as Chinese immigrant Cheng Huan.\u003c/p>\n\u003cp>The same thing happened when \u003cem>Show Boat\u003c/em> was remade in 1951. Although Lena Horne campaigned hard for the role, Ava Gardner was cast as Julie, and not only was she not black, she wasn't even singing (though she certainly could have; she recorded a vocal track they ended up not using that is lighter and more contemporary to modern ears).\u003c/p>\n\u003cp>Colorblind and, in several different senses, tone-deaf, this qualified as Hollywood artificiality at its peak. And it followed close on the heels of another drama Horne had campaigned for, \u003cem>Pinky,\u003c/em> about another character who was passing as white. That part went to Jeanne Crain, for whom passing was relatively easy, as she was white. She got an Oscar nomination as best actress for pretending not to be.\u003c/p>\n\u003cp>Foreign films weren't as timid. In 1935, Josephine Baker — who had moved to Paris because of racial prejudice in the U.S. and was becoming a big star there — starred in the French-made \u003cem>Princess Tam Tam,\u003c/em> playing a Tunisian woman who is the muse of a white French novelist.\u003c/p>\n\u003cp>In the U.S., though, because of the Hays Code, that film and others like it played only in theaters catering strictly to black patrons. Then, in 1956, the code was revised, and the stipulation about race was dropped, which allowed a blonde Inger Stevens to have what was, at the time, an incendiary conversation with Harry Belafonte in \u003cem>The World, The Flesh and The Devil,\u003c/em> a science-fiction film in which a nuclear war had left the two of them virtually alone in the world. \u003cem>(Note: The dialogue below contains language some readers may find offensive.)\u003c/em>\u003c/p>\n\u003cp>Stevens has asked Belafonte to be honest with her, and Belafonte has responded that if she pushes, he'll be \"so honest it'll burn you.\"\u003c/p>\n\u003cp>When she does push, he erupts in fury: \"If you're squeamish about words, I'm 'colored.' If you face facts I'm a Negro. If you're a polite Southerner, I'm a 'Negra,' and I'm a 'nigger' if you're not. ... A little while ago, you said you were 'free, white and 21.' That didn't mean anything to you. Just an expression you'd heard a thousand times. Well, to me it was an arrow in my guts.\"\u003c/p>\n\u003cp>Stevens asks for help getting it right: \"You're a fine, decent man; what else is there to know?\"\u003c/p>\n\u003cp>\"[In] that world we came from you wouldn't know that,\" Belafonte's character replies. \"You wouldn't even know me. Why should the world fall down to prove I'm what I am, and that there's nothing wrong with what I am?\"\u003c/p>\n\u003cp>Good question, and others were asking it, too: In the British film \u003cem>A Taste of Honey,\u003c/em> Rita Tushingham gets pregnant by a black sailor and decides to keep the baby. Hollywood's first interracial kiss appeared in the drama \u003cem>Island in the Sun.\u003c/em> And the era-defining \u003cem>Guess Who's Coming to Dinner\u003c/em> arrived in theaters six months to the day after interracial marriage was legalized by the \u003cem>Loving\u003c/em> decision.\u003c/p>\n\u003cp>Lawyers only had to make their closing argument to nine Supreme Court justices. Spencer Tracy's summation went out to more than 40 million moviegoers, when he said this to Sidney Poitier and Katharine Houghton:\u003c/p>\n\u003cblockquote>\u003cp>\" 'Anybody could make a case — and a helluva good case — against your getting married,' he says. 'The arguments are so obvious that nobody has to make them. But you're two wonderful people, who happened to fall in love, and happen to have a pigmentation problem. And I think that now, no matter what kind of a case some bastard could make against your getting married, there would be only one thing worse. And that would be if, knowing what you two are, knowing what you two have, and knowing what you two feel, you didn't get married.' \"\u003c/p>\u003c/blockquote>\n\u003cp>And that broke the logjam, right?\u003c/p>\n\u003cp>No, not really. Hollywood spent the rest of the 20th century debating how to follow \u003cem>Guess Who's Coming To Dinner,\u003c/em> and mostly deciding not to.\u003c/p>\n\u003cfigure id=\"attachment_86018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-86018 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/get-out_wide-fc9e8bd7202b898af83d99d08cde26cb7af09a95-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Williams and Daniel Kaluuya star in Jordan Peele's 'Get Out'.\u003cbr> (Justin Lubin/Courtesy of Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003cp>Bromances with black-white pairings were fine — say, the \u003cem>Lethal Weapon\u003c/em> franchise. Producers who could attract stars of sufficient wattage — say Kevin Costner at the height of his fame, and Whitney Houston at the height of hers — could dare audiences to resist their pairing in a film like \u003cem>The Bodyguard\u003c/em>. And there were occasional problem-dramas that tackled the issue head-on as an issue — Spike Lee's \u003cem>Jungle Fever,\u003c/em> for instance, or the lesbian interracial romance \u003cem>The Watermelon Woman\u003c/em>.\u003c/p>\n\u003cp>But for many in Hollywood, the risk of alienating some part of the audience has not seemed a risk worth taking on a multimillion-dollar budget. So Will Smith and Denzel Washington have spent most of their careers appearing opposite African-American love interests, and Brad Pitt and Tom Cruise have not. Never mind that multiracial casting has been a boon at the box office for, say, the \u003cem>Fast and Furious\u003c/em> films.\u003c/p>\n\u003cp>There are, of course, outliers. Jordan Peele's satirical dramedy \u003cem>Get Out\u003c/em> is a witty look at social stereotyping, which uses race to subvert and amplify horror tropes. With a first-time director, \u003cem>Get Out\u003c/em> has taken in almost a quarter of a billion dollars at the worldwide box office.\u003c/p>\n\u003cp>Also this year, in \u003cem>Everything, Everything,\u003c/em> an African-American girl-in-a-bubble and a white neighbor fall in love. The supporting cast of \u003cem>Beauty and the Beast\u003c/em> turned out to have two interracial couples, once the magic spell was broken. And in the upcoming comedy \u003cem>The Big Sick,\u003c/em> Kumail Nanjiani will tell the true story of how he, a man of Pakistani descent, met his Caucasian wife.\u003c/p>\n\u003cp>These films, let's note, make sense in the current movie marketplace, especially for younger viewers. The Pew Research Center \u003ca href=\"http://www.pewsocialtrends.org/2017/05/18/intermarriage-in-the-u-s-50-years-after-loving-v-virginia/#fn-22844-2\" target=\"_blank\" rel=\"noopener noreferrer\">recently reported\u003c/a> that in 2015, the most recent year for which figures are available, \"17 percent of all U.S. newlyweds had a spouse of a different race or ethnicity.\" That compares with 3 percent in 1967 — the year of the \u003cem>Loving\u003c/em> decision and of \u003cem>Guess Who's Coming to Dinner.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nation has changed, and Hollywood will, too. At the moment, though, it's still playing catch-up.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+After+%27Loving%2C%27+Hollywood+Still+Struggles+With+Interracial+Romance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"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",
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
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"id": "californiareport",
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"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",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
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},
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"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",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"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": {
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"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": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"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 />",
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"meta": {
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},
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},
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"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",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"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",
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"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",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"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": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"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",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"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": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"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",
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"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)",
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"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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"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": {
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