window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13860542": {
"type": "attachments",
"id": "arts_13860542",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13860542",
"found": true
},
"parent": 13860541,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/gettyimages-475208272_wide-8becadea6755c80f23756108d26e5ddc148c11f8-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1562001437,
"modified": 1562001437,
"caption": null,
"description": "Janet Weiss of Sleater-Kinney performs at the Primavera Sound Festival in 2015",
"title": "Janet Weiss of Sleater-Kinney performs at the Primavera Sound Festival in 2015.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13860138": {
"type": "attachments",
"id": "arts_13860138",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13860138",
"found": true
},
"parent": 13860137,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7.jpg",
"width": 1899,
"height": 1068
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ruby-ibarra-11-resize_wide-87e08b6dce7dc092189d72a13c92dca19569d0b7-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1561416106,
"modified": 1561416369,
"caption": "\"I am what I talk about in my music. I am Pinay, I'm powerful, I'm fearless, I'm unfiltered,\" Ruby Ibarra says.",
"description": "\"I am what I talk about in my music. I am Pinay, I'm powerful, I'm fearless, I'm unfiltered,\" Ruby Ibarra says.",
"title": "\"I am what I talk about in my music. I am Pinay, I'm powerful, I'm fearless, I'm unfiltered,\" Ruby Ibarra says.",
"credit": "Donna Ibarra/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13860024": {
"type": "attachments",
"id": "arts_13860024",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13860024",
"found": true
},
"parent": 13860023,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/mib_wide-80c899149096527c626a64bfc78175b9231e9740-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/mib_wide-80c899149096527c626a64bfc78175b9231e9740-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/mib_wide-80c899149096527c626a64bfc78175b9231e9740.jpg",
"width": 918,
"height": 516
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/mib_wide-80c899149096527c626a64bfc78175b9231e9740-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/mib_wide-80c899149096527c626a64bfc78175b9231e9740-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1561073062,
"modified": 1561073377,
"caption": "Neuralyze This: Tessa Thompson and Chris Hemsworth team up as Agents M and H in the fourth installment of the 'Men in Black' series.",
"description": "Neuralyze This: Tessa Thompson and Chris Hemsworth team up as Agents M and H in the fourth installment of the 'Men in Black' series.",
"title": "Neuralyze This: Tessa Thompson and Chris Hemsworth team up as Agents M and H in the fourth installment of the Men in Black series.",
"credit": "Sony Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13859991": {
"type": "attachments",
"id": "arts_13859991",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13859991",
"found": true
},
"parent": 13859988,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1561061512,
"modified": 1561061540,
"caption": "Lil Nas X has followed up his viral sensation \"Old Town Road\" with his latest song \"Panini.\"",
"description": "Lil Nas X has followed up his viral sensation \"Old Town Road\" with his latest song \"Panini.\"",
"title": "LilNasX-GettyImages-1145782505-1920",
"credit": "Photo by Matt Winkelmeyer/Getty Images for Stagecoach",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13859892": {
"type": "attachments",
"id": "arts_13859892",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13859892",
"found": true
},
"parent": 13859890,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-e1560963231451.jpg",
"width": 1920,
"height": 1279
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-1200x799.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 799
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/joy-harjo-1_custom-af29f40e2feba7ae4c29556017726b755d95b255-1-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1560962000,
"modified": 1560963283,
"caption": "Joy Harjo will become the 23rd poet laureate of the United States, making her the first Native American to hold the position.",
"description": "Joy Harjo will become the 23rd poet laureate of the United States, making her the first Native American to hold the position.",
"title": "Joy Harjo will become the 23rd poet laureate of the United States, making her the first Native American to hold the position.",
"credit": "Shawn Miller/Library of Congress",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13859447": {
"type": "attachments",
"id": "arts_13859447",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13859447",
"found": true
},
"parent": 13859446,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-e1560296764147.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-80530629-f148b8e014c67ed40c18fa8d2f50aa5ee7d87d67-1-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1560296525,
"modified": 1560296797,
"caption": "Radiohead, pictured in 1997, around the original release of 'OK Computer.'",
"description": "Radiohead, pictured in 1997, around the original release of 'OK Computer.'",
"title": "Radiohead, pictured in 1997, around the original release of 'OK Computer.'",
"credit": "Jim Steinfeldt/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13859381": {
"type": "attachments",
"id": "arts_13859381",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13859381",
"found": true
},
"parent": 13859375,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ayesha-at-last-cropped-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ayesha-at-last-cropped-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ayesha-at-last-cropped.jpg",
"width": 800,
"height": 450
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ayesha-at-last-cropped-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/ayesha-at-last-cropped-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1560206740,
"modified": 1560206740,
"caption": null,
"description": null,
"title": "ayesha at last cropped",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13859373": {
"type": "attachments",
"id": "arts_13859373",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13859373",
"found": true
},
"parent": 13859371,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-e1560206356595.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-112262068_wide-cf3c1cbd116c0364752fc7acf2605623b661b0fd-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1560204948,
"modified": 1560206335,
"caption": "Robyn performs at the Coachella Valley Music",
"description": "Robyn performs at the Coachella Valley Music",
"title": "Robyn performs at the Coachella Valley Music & Arts Festival in 2011.",
"credit": "Charley Gallay/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13859176": {
"type": "attachments",
"id": "arts_13859176",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13859176",
"found": true
},
"parent": 13859175,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-e1559866373714.jpg",
"width": 1920,
"height": 1441
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-1020x766.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 766
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-1200x901.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 901
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-1920x1441.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1441
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-55755796-1ed6285ce36eed1a05a9c0a9c93d333ba44ace23-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1559866239,
"modified": 1559866366,
"caption": "Pablo Picasso and Francoise Gillot in 1951.",
"description": "Pablo Picasso and Francoise Gillot in 1951.",
"title": "Pablo Picasso and Francoise Gillot in 1951.",
"credit": "Lipnitzki/Roger Viollet/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13858892": {
"type": "attachments",
"id": "arts_13858892",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13858892",
"found": true
},
"parent": 13858891,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-e1559664521152.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1559662610,
"modified": 1559664544,
"caption": "Apple CEO Tim Cook delivers the keynote address at the 2019 Apple Worldwide Developers Conference in San Jose, Calif., on Monday. The company announced that it's breaking up the iTunes application into three apps handling music, podcasts and TV.",
"description": "Apple CEO Tim Cook delivers the keynote address at the 2019 Apple Worldwide Developers Conference in San Jose, Calif., on Monday. The company announced that it's breaking up the iTunes application into three apps handling music, podcasts and TV.",
"title": "Apple CEO Tim Cook delivers the keynote address at the 2019 Apple Worldwide Developers Conference in San Jose, Calif., on Monday. The company announced that it's breaking up the iTunes application into three apps handling music, podcasts and TV.",
"credit": "Justin Sullivan/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13858816": {
"type": "attachments",
"id": "arts_13858816",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13858816",
"found": true
},
"parent": 13858815,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-e1559585396690.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/wtsu_101_unit_00825r_wide-4c7827427f90d080d78694696f18949c6f301161-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1559585335,
"modified": 1559585388,
"caption": "Asante Blackk plays young Kevin Richardson, one of the boys imprisoned for years only to be released when another man finally confessed.",
"description": "Asante Blackk plays young Kevin Richardson, one of the boys imprisoned for years only to be released when another man finally confessed.",
"title": "Asante Blackk plays young Kevin Richardson, one of the boys imprisoned for years only to be released when another man finally confessed.",
"credit": "Atsushi Nishijima/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13858632": {
"type": "attachments",
"id": "arts_13858632",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13858632",
"found": true
},
"parent": 13858630,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08.jpg",
"width": 1647,
"height": 926
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/05/alwaysbe2_wide-270a2d66619f05bef1f882fc103cb9227fdc8e08-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1559321456,
"modified": 1559321526,
"caption": "Randall Park and Ali Wong star in Netflix's Always Be My Maybe.",
"description": "Randall Park and Ali Wong star in Netflix's Always Be My Maybe.",
"title": "Randall Park and Ali Wong star in Netflix's Always Be My Maybe.",
"credit": "Ed Araquel/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13860541": {
"type": "authors",
"id": "byline_arts_13860541",
"meta": {
"override": true
},
"slug": "byline_arts_13860541",
"name": "Lars Gotrich",
"isLoading": false
},
"byline_arts_13860137": {
"type": "authors",
"id": "byline_arts_13860137",
"meta": {
"override": true
},
"slug": "byline_arts_13860137",
"name": "Rosalind Faulkner",
"isLoading": false
},
"byline_arts_13860023": {
"type": "authors",
"id": "byline_arts_13860023",
"meta": {
"override": true
},
"slug": "byline_arts_13860023",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_13859988": {
"type": "authors",
"id": "byline_arts_13859988",
"meta": {
"override": true
},
"slug": "byline_arts_13859988",
"name": "Rosalind Faulkner",
"isLoading": false
},
"byline_arts_13859890": {
"type": "authors",
"id": "byline_arts_13859890",
"meta": {
"override": true
},
"slug": "byline_arts_13859890",
"name": "Lynn Neary, Patrick Jarenwattananon",
"isLoading": false
},
"byline_arts_13859446": {
"type": "authors",
"id": "byline_arts_13859446",
"meta": {
"override": true
},
"slug": "byline_arts_13859446",
"name": "Robin Hilton",
"isLoading": false
},
"byline_arts_13859375": {
"type": "authors",
"id": "byline_arts_13859375",
"meta": {
"override": true
},
"slug": "byline_arts_13859375",
"name": "Kamrun Nesa",
"isLoading": false
},
"byline_arts_13859371": {
"type": "authors",
"id": "byline_arts_13859371",
"meta": {
"override": true
},
"slug": "byline_arts_13859371",
"name": "Sam Sanders",
"isLoading": false
},
"byline_arts_13859175": {
"type": "authors",
"id": "byline_arts_13859175",
"meta": {
"override": true
},
"slug": "byline_arts_13859175",
"name": "Lily Meyer",
"isLoading": false
},
"byline_arts_13858891": {
"type": "authors",
"id": "byline_arts_13858891",
"meta": {
"override": true
},
"slug": "byline_arts_13858891",
"name": "Andrew Flanagan, Jasmine Garsd",
"isLoading": false
},
"byline_arts_13858815": {
"type": "authors",
"id": "byline_arts_13858815",
"meta": {
"override": true
},
"slug": "byline_arts_13858815",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13858630": {
"type": "authors",
"id": "byline_arts_13858630",
"meta": {
"override": true
},
"slug": "byline_arts_13858630",
"name": "Linda Holmes",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.2624855
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 123
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 123
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13860541": {
"type": "posts",
"id": "arts_13860541",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13860541",
"score": null,
"sort": [
1562001601000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1562001601,
"format": "standard",
"title": "Drummer Janet Weiss Leaves Sleater-Kinney",
"headTitle": "Drummer Janet Weiss Leaves Sleater-Kinney | KQED",
"content": "\u003cp>In a \u003ca href=\"https://twitter.com/jazzzhand/status/1145691391034445824\">statement\u003c/a> posted to Twitter on Monday, drummer Janet Weiss announced that she is leaving \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a>.\u003c/p>\n\u003cp>“After intense deliberation and heavy sadness, I have decided to leave Sleater-Kinney,” she writes. “The band is heading in a new direction and it is time for me to move on.”\u003c/p>\n\u003cp>The departure comes ahead of the release of a new album by the band, \u003cem>The Center Won’t Hold\u003c/em>, out Aug. 16 and produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>.\u003c/p>\n\u003cp>“I will never forget the heights we reached or the magnificent times Corin, Carrie and I shared,” Weiss continues. “We were a force of nature. To the dearest SK fans — you’re the raddest fans in the universe and I love you. Experiencing the music together has been the honor of a lifetime. Thank you sustaining me the past 24 years and proving without a doubt that love and connection are what saves us.”\u003c/p>\n\u003cp>Reached for comment, a representative for the band directed NPR to Sleater-Kinney’s \u003ca href=\"https://www.instagram.com/p/BzYGow6AMTx/\">statement\u003c/a>, shared on Instagram.\u003c/p>\n\u003cblockquote>\n\u003cp>We are saddened by Janet’s decision to leave Sleater-Kinney. It has been an incredible privilege to work with such a talented musician and drummer over the course of so many albums, including \u003cem>The Center Won’t Hold\u003c/em>.\u003c/p>\n\u003cp>We thank her for joining us on this journey many years ago; we will always cherish our friendship and our time together. We wish Janet all the best as she starts a new chapter in life.\u003c/p>\n\u003cp>We are so excited for everyone to hear the record, and see you on the road this fall and beyond.\u003c/p>\n\u003c/blockquote>\n\u003cp>Sleater-Kinney’s first scheduled show of the fall is Sept. 5 at the Hopscotch Music Festival, followed by a U.S. tour in October. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Drummer+Janet+Weiss+Leaves+Sleater-Kinney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 314,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705022596,
"excerpt": "\"The band is heading in a new direction and it is time for me to move on,\" she writes.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""The band is heading in a new direction and it is time for me to move on," she writes.",
"title": "Drummer Janet Weiss Leaves Sleater-Kinney | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Drummer Janet Weiss Leaves Sleater-Kinney",
"datePublished": "2019-07-01T10:20:01-07:00",
"dateModified": "2024-01-11T17:23:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "drummer-janet-weiss-leaves-sleater-kinney",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=737595174&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 01 Jul 2019 10:54:28 -0400",
"nprLastModifiedDate": "Mon, 01 Jul 2019 10:54:28 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/07/01/737595174/drummer-janet-weiss-leaves-sleater-kinney?ft=nprml&f=737595174",
"nprImageAgency": "Redferns via Getty Images",
"nprStoryId": "737595174",
"nprByline": "Lars Gotrich",
"sticky": false,
"nprImageCredit": "Burak Cingi",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 01 Jul 2019 10:54:00 -0400",
"path": "/arts/13860541/drummer-janet-weiss-leaves-sleater-kinney",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"https://twitter.com/jazzzhand/status/1145691391034445824\">statement\u003c/a> posted to Twitter on Monday, drummer Janet Weiss announced that she is leaving \u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a>.\u003c/p>\n\u003cp>“After intense deliberation and heavy sadness, I have decided to leave Sleater-Kinney,” she writes. “The band is heading in a new direction and it is time for me to move on.”\u003c/p>\n\u003cp>The departure comes ahead of the release of a new album by the band, \u003cem>The Center Won’t Hold\u003c/em>, out Aug. 16 and produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>.\u003c/p>\n\u003cp>“I will never forget the heights we reached or the magnificent times Corin, Carrie and I shared,” Weiss continues. “We were a force of nature. To the dearest SK fans — you’re the raddest fans in the universe and I love you. Experiencing the music together has been the honor of a lifetime. Thank you sustaining me the past 24 years and proving without a doubt that love and connection are what saves us.”\u003c/p>\n\u003cp>Reached for comment, a representative for the band directed NPR to Sleater-Kinney’s \u003ca href=\"https://www.instagram.com/p/BzYGow6AMTx/\">statement\u003c/a>, shared on Instagram.\u003c/p>\n\u003cblockquote>\n\u003cp>We are saddened by Janet’s decision to leave Sleater-Kinney. It has been an incredible privilege to work with such a talented musician and drummer over the course of so many albums, including \u003cem>The Center Won’t Hold\u003c/em>.\u003c/p>\n\u003cp>We thank her for joining us on this journey many years ago; we will always cherish our friendship and our time together. We wish Janet all the best as she starts a new chapter in life.\u003c/p>\n\u003cp>We are so excited for everyone to hear the record, and see you on the road this fall and beyond.\u003c/p>\n\u003c/blockquote>\n\u003cp>Sleater-Kinney’s first scheduled show of the fall is Sept. 5 at the Hopscotch Music Festival, followed by a U.S. tour in October. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Drummer+Janet+Weiss+Leaves+Sleater-Kinney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13860541/drummer-janet-weiss-leaves-sleater-kinney",
"authors": [
"byline_arts_13860541"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13860542",
"label": "arts_137"
},
"arts_13860137": {
"type": "posts",
"id": "arts_13860137",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13860137",
"score": null,
"sort": [
1561416448000
]
},
"guestAuthors": [],
"slug": "this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother",
"title": "This Tiny Desk Contestant Rapped A Love Letter To Her Immigrant Mother",
"publishDate": 1561416448,
"format": "standard",
"headTitle": "This Tiny Desk Contestant Rapped A Love Letter To Her Immigrant Mother | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/16/723554077/meet-quinn-christopherson-winner-of-the-2019-tiny-desk-contest\">Quinn Christopherson\u003c/a> may be the winner of the 2019 Tiny Desk Contest, but this year’s 6,000-plus entries included many outstanding performances.\u003c/p>\n\u003cp>One of those standouts came from rapper Ruby Ibarra and her band The Balikbayans, a group of Filipino-American musicians based out of the San Francisco Bay Area. Ibarra — who was born in Tacloban City in the Philippines and immigrated to the United States with her family in the 1990s — calls the song she submitted, “Someday,” an ode to her mother.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Ibarra reflects on the song in a note that she sent to NPR:\u003c/p>\n\u003cp>\u003cem>It is my declaration that my mother and I will make it in this country. I think that when we talk about immigration, especially in mainstream media, much of that is often romanticized and simplified; the experience and struggles are overlooked and the formation of identity and sense of belonging are neglected. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When my mom moved to California from the Philippines in 1991, she went from being an accountant to a fast food janitor/cashier. She left everything behind in her motherland in hopes to provide better opportunities for me and my younger sister. She learned quickly how to be on survival mode and realized that the American Dream was far more complex than the mainstream narrative. The song “Someday” captures these themes and most importantly, captures my mother’s story, which is ultimately a similar story for many immigrants — trying to find a place to call home.\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ruby Ibarra & The Balikbayans - Someday [2019 NPR Tiny Desk]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SCd3iSfnWSw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ibarra describes her art as unfiltered, a quality that shines through in her band’s Tiny Desk submission. “I feel like when I am on that stage, or when I’m expressing myself through the lyrics that I rap, I feel like that’s me in my rawest form,” she says.\u003c/p>\n\u003cp>Ibarra’s verses on “Someday,” addressed to her mother, are a testament to this rawness. “Mama, I know it’s gon’ be fine wherever we go / ‘Cause we know, you raised this girl to dream and be a hero / What’s an ego to an eagle? I free-flow when I speak though / My pipe dreams through a peephole, my skin so Filipino,” she raps.\u003c/p>\n\u003cp>After earning an accounting degree \u003cem>cum laude \u003c/em>at her university in the Philippines, Ibarra’s mother decided to come to the United States.\u003c/p>\n\u003cp>“Especially during the ’80s and the ’90s, the economy wasn’t doing so well in the Philippines. And a lot of people really had this mentality that, ‘If I go to America, I’m gonna have better educated children or a better life,’ basically,” Ibarra says. “Upon moving here, I think that’s when my mom realized that it wasn’t all she expected it to be.”\u003c/p>\n\u003cp>But the rapper says that her mother always remained a model of resilience for Ibarra and her sister. “She was the matriarch and the patriarch in our household,” Ibarra says. “She was always my example of what it meant to be \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/05/24/478560399/filipino-americans-blending-cultures-redefining-race\">\u003cem>Pinay\u003c/em>\u003c/a>, a woman who pretty much did s*** on her own, carried everything on her own back.”\u003c/p>\n\u003cp>Ibarra expresses her profound admiration for her mother in the lyrics of “Someday.” When she raps, “Mama we goin’ make it here someday” it’s meant to be a promise.\u003c/p>\n\u003cp>“I want to reach a point someday where I can look at her in the face and say that we made it,” Ibarra says. “I think that sense of belonging, that sense of hope, is a thread that’s very common in a lot of immigrant stories.”\u003c/p>\n\u003cp>In addition to expressing her truest self through her music, Ibarra says that she hopes to pass inspiration on to others who want to do the same.\u003c/p>\n\u003cp>“I am what I talk about in my music. I am \u003cem>Pinay\u003c/em>, I’m powerful, I’m fearless, I’m unfiltered,” Ibarra says. “And I like to hope that there’s young women out there who feel the same way. Or even if they don’t feel the same way, I hope to inspire young women out there to want to use their voice, to claim who they are and to embrace their identity.”\u003c/p>\n\u003cp>\u003cem>Listen to the full aired story at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Ruby Ibarra describes her art as unfiltered, a quality that shines through in her band's 2019 Tiny Desk submission.",
"status": "publish",
"parent": 0,
"modified": 1726700556,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 783
},
"headData": {
"title": "This Tiny Desk Contestant Rapped A Love Letter To Her Immigrant Mother | KQED",
"description": "Ruby Ibarra describes her art as unfiltered, a quality that shines through in her band's 2019 Tiny Desk submission.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This Tiny Desk Contestant Rapped A Love Letter To Her Immigrant Mother",
"datePublished": "2019-06-24T15:47:28-07:00",
"dateModified": "2024-09-18T16:02:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Donna Ibarra",
"nprByline": "Rosalind Faulkner",
"nprImageAgency": "Courtesy of the artist",
"nprStoryId": "734403197",
"nprApiLink": "http://api.npr.org/query?id=734403197&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2019/06/22/734403197/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother?ft=nprml&f=734403197",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 22 Jun 2019 08:22:00 -0400",
"nprStoryDate": "Sat, 22 Jun 2019 08:05:00 -0400",
"nprLastModifiedDate": "Sat, 22 Jun 2019 09:25:47 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2019/06/20190622_wesat_this_tiny_desk_contestant_rapped_a_love_letter_to_her_immigrant_mother.mp3?orgId=1&topicId=1105&aggIds=92071316&d=252&p=7&story=734403197&ft=nprml&f=734403197",
"nprAudioM3u": "http://api.npr.org/m3u/1735005909-ffa360.m3u?orgId=1&topicId=1105&aggIds=92071316&d=252&p=7&story=734403197&ft=nprml&f=734403197",
"audioTrackLength": 253,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"path": "/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2019/06/20190622_wesat_this_tiny_desk_contestant_rapped_a_love_letter_to_her_immigrant_mother.mp3?orgId=1&topicId=1105&aggIds=92071316&d=252&p=7&story=734403197&ft=nprml&f=734403197",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/16/723554077/meet-quinn-christopherson-winner-of-the-2019-tiny-desk-contest\">Quinn Christopherson\u003c/a> may be the winner of the 2019 Tiny Desk Contest, but this year’s 6,000-plus entries included many outstanding performances.\u003c/p>\n\u003cp>One of those standouts came from rapper Ruby Ibarra and her band The Balikbayans, a group of Filipino-American musicians based out of the San Francisco Bay Area. Ibarra — who was born in Tacloban City in the Philippines and immigrated to the United States with her family in the 1990s — calls the song she submitted, “Someday,” an ode to her mother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13812554",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1-1920x1080.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ibarra reflects on the song in a note that she sent to NPR:\u003c/p>\n\u003cp>\u003cem>It is my declaration that my mother and I will make it in this country. I think that when we talk about immigration, especially in mainstream media, much of that is often romanticized and simplified; the experience and struggles are overlooked and the formation of identity and sense of belonging are neglected. \u003c/em>\u003c/p>\n\u003cp>\u003cem>When my mom moved to California from the Philippines in 1991, she went from being an accountant to a fast food janitor/cashier. She left everything behind in her motherland in hopes to provide better opportunities for me and my younger sister. She learned quickly how to be on survival mode and realized that the American Dream was far more complex than the mainstream narrative. The song “Someday” captures these themes and most importantly, captures my mother’s story, which is ultimately a similar story for many immigrants — trying to find a place to call home.\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ruby Ibarra & The Balikbayans - Someday [2019 NPR Tiny Desk]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SCd3iSfnWSw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ibarra describes her art as unfiltered, a quality that shines through in her band’s Tiny Desk submission. “I feel like when I am on that stage, or when I’m expressing myself through the lyrics that I rap, I feel like that’s me in my rawest form,” she says.\u003c/p>\n\u003cp>Ibarra’s verses on “Someday,” addressed to her mother, are a testament to this rawness. “Mama, I know it’s gon’ be fine wherever we go / ‘Cause we know, you raised this girl to dream and be a hero / What’s an ego to an eagle? I free-flow when I speak though / My pipe dreams through a peephole, my skin so Filipino,” she raps.\u003c/p>\n\u003cp>After earning an accounting degree \u003cem>cum laude \u003c/em>at her university in the Philippines, Ibarra’s mother decided to come to the United States.\u003c/p>\n\u003cp>“Especially during the ’80s and the ’90s, the economy wasn’t doing so well in the Philippines. And a lot of people really had this mentality that, ‘If I go to America, I’m gonna have better educated children or a better life,’ basically,” Ibarra says. “Upon moving here, I think that’s when my mom realized that it wasn’t all she expected it to be.”\u003c/p>\n\u003cp>But the rapper says that her mother always remained a model of resilience for Ibarra and her sister. “She was the matriarch and the patriarch in our household,” Ibarra says. “She was always my example of what it meant to be \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/05/24/478560399/filipino-americans-blending-cultures-redefining-race\">\u003cem>Pinay\u003c/em>\u003c/a>, a woman who pretty much did s*** on her own, carried everything on her own back.”\u003c/p>\n\u003cp>Ibarra expresses her profound admiration for her mother in the lyrics of “Someday.” When she raps, “Mama we goin’ make it here someday” it’s meant to be a promise.\u003c/p>\n\u003cp>“I want to reach a point someday where I can look at her in the face and say that we made it,” Ibarra says. “I think that sense of belonging, that sense of hope, is a thread that’s very common in a lot of immigrant stories.”\u003c/p>\n\u003cp>In addition to expressing her truest self through her music, Ibarra says that she hopes to pass inspiration on to others who want to do the same.\u003c/p>\n\u003cp>“I am what I talk about in my music. I am \u003cem>Pinay\u003c/em>, I’m powerful, I’m fearless, I’m unfiltered,” Ibarra says. “And I like to hope that there’s young women out there who feel the same way. Or even if they don’t feel the same way, I hope to inspire young women out there to want to use their voice, to claim who they are and to embrace their identity.”\u003c/p>\n\u003cp>\u003cem>Listen to the full aired story at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother",
"authors": [
"byline_arts_13860137"
],
"categories": [
"arts_69",
"arts_75"
],
"tags": [
"arts_2855",
"arts_8924",
"arts_4271"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13860138",
"label": "arts_137"
},
"arts_13860023": {
"type": "posts",
"id": "arts_13860023",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13860023",
"score": null,
"sort": [
1561122035000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1561122035,
"format": "standard",
"title": "Erase The Awful 'Men In Black: International' From Your Mind",
"headTitle": "Erase The Awful ‘Men In Black: International’ From Your Mind | KQED",
"content": "\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \u003c/p>\n\u003cp>https://youtu.be/BV-WEb2oxLk\u003c/p>\n\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a reversal of the \u003cem>Men in Black\u003c/em> origin story, Thompson’s Agent M isn’t discovered by MIB. It is the other way around, as part of a 20-year quest to find the agency that visited her home as a child. Admiring her initiative, Agent O sends her from New York to the London branch, which is immersed in intrigue surrounding a threat called The Hive. Hemsworth’s Agent H and his former partner, High T (Liam Neeson), saved the world from this same alien species a couple of years before, and now their enemies have taken the form of Les Twins (Laurent and Larry Bourgeois), two shape-shifting siblings from Morocco who are on a trail of destruction. Agent H and Agent M are on the case, joined by a pocket-sized alien wiseacre named Pawny (Kumail Nanjiani), but they begin to suspect that MIB’s house is not in order. \u003c/p>\n\u003cp>There’s a lot of plotting in \u003cem>Men In Black: International\u003c/em>, which makes room for a diabolical three-armed seductress (Rebecca Ferguson) and a compact weapon of planet-destroying power, but the more the story unfurls, the deeper the film sinks into quicksand. Director F. Gary Gray and his screenwriters, Art Marcum and Matt Holloway, have made the crucial mistake of believing the franchise needs complex world-building instead of streamlined comedy. Even if the events in the film made any kind of sense, they were never going to matter as much as the good time Hemsworth, Neeson and the two Thompsons are supposed to be showing us. And yet that’s where the emphasis lies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hemsworth and Tessa Thompson are a proven commodity, having teamed up briefly in \u003cem>Thor: Ragnarok\u003c/em>, perhaps the funniest of all the Marvel movies, but they are too busy hustling around to expensive set pieces to spark off each other. Though Nanjiani’s super-cute alien seems like a leftover from \u003cem>Batteries Not Included\u003c/em>, at least he has some room to toss around insults and witticisms, and improvise his way out of trouble. Whether the franchise can survive without Smith and Jones is an open question, but it can’t live on gadgetry and spy games and an influx of Mos Eisley cantina denizens alone. There has to be chemistry, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Erase+The+Awful+%27Men+In+Black%3A+International%27+From+Your+Mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 780,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705022622,
"excerpt": "The not-so-stealthy reboot of the sci-fi/comedy franchise skimps on comedy to focus on world-building, an overplotted story and set dressing. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The not-so-stealthy reboot of the sci-fi/comedy franchise skimps on comedy to focus on world-building, an overplotted story and set dressing. ",
"title": "Erase The Awful 'Men In Black: International' From Your Mind | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Erase The Awful 'Men In Black: International' From Your Mind",
"datePublished": "2019-06-21T06:00:35-07:00",
"dateModified": "2024-01-11T17:23:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "erase-the-awful-men-in-black-international-from-your-mind",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=730615574&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 13 Jun 2019 17:00:21 -0400",
"nprLastModifiedDate": "Thu, 13 Jun 2019 17:00:21 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/06/13/730615574/erase-the-awful-men-in-black-international-from-your-mind?ft=nprml&f=730615574",
"nprImageAgency": "Sony Pictures",
"nprStoryId": "730615574",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 13 Jun 2019 17:00:00 -0400",
"path": "/arts/13860023/erase-the-awful-men-in-black-international-from-your-mind",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BV-WEb2oxLk'\n title='//www.youtube.com/embed/BV-WEb2oxLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a reversal of the \u003cem>Men in Black\u003c/em> origin story, Thompson’s Agent M isn’t discovered by MIB. It is the other way around, as part of a 20-year quest to find the agency that visited her home as a child. Admiring her initiative, Agent O sends her from New York to the London branch, which is immersed in intrigue surrounding a threat called The Hive. Hemsworth’s Agent H and his former partner, High T (Liam Neeson), saved the world from this same alien species a couple of years before, and now their enemies have taken the form of Les Twins (Laurent and Larry Bourgeois), two shape-shifting siblings from Morocco who are on a trail of destruction. Agent H and Agent M are on the case, joined by a pocket-sized alien wiseacre named Pawny (Kumail Nanjiani), but they begin to suspect that MIB’s house is not in order. \u003c/p>\n\u003cp>There’s a lot of plotting in \u003cem>Men In Black: International\u003c/em>, which makes room for a diabolical three-armed seductress (Rebecca Ferguson) and a compact weapon of planet-destroying power, but the more the story unfurls, the deeper the film sinks into quicksand. Director F. Gary Gray and his screenwriters, Art Marcum and Matt Holloway, have made the crucial mistake of believing the franchise needs complex world-building instead of streamlined comedy. Even if the events in the film made any kind of sense, they were never going to matter as much as the good time Hemsworth, Neeson and the two Thompsons are supposed to be showing us. And yet that’s where the emphasis lies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hemsworth and Tessa Thompson are a proven commodity, having teamed up briefly in \u003cem>Thor: Ragnarok\u003c/em>, perhaps the funniest of all the Marvel movies, but they are too busy hustling around to expensive set pieces to spark off each other. Though Nanjiani’s super-cute alien seems like a leftover from \u003cem>Batteries Not Included\u003c/em>, at least he has some room to toss around insults and witticisms, and improvise his way out of trouble. Whether the franchise can survive without Smith and Jones is an open question, but it can’t live on gadgetry and spy games and an influx of Mos Eisley cantina denizens alone. There has to be chemistry, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Erase+The+Awful+%27Men+In+Black%3A+International%27+From+Your+Mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13860023/erase-the-awful-men-in-black-international-from-your-mind",
"authors": [
"byline_arts_13860023"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769",
"arts_3797"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13860024",
"label": "arts_137"
},
"arts_13859988": {
"type": "posts",
"id": "arts_13859988",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13859988",
"score": null,
"sort": [
1561061726000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1561061726,
"format": "image",
"title": "Lil Nas X Proves He's Not A One-Hit Wonder With 'Panini'",
"headTitle": "Lil Nas X Proves He’s Not A One-Hit Wonder With ‘Panini’ | KQED",
"content": "\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\u003c/p>\n\u003cp>https://youtu.be/1PrWA4C8eLw\u003c/p>\n\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 298,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705022625,
"excerpt": "Lil Nas X's upcoming EP, '7,' will aim to cement the Internet sensation as more than a flash in the pan. With \"Panini,\" he's already proven he can be more than a one-hit wonder.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lil Nas X's upcoming EP, '7,' will aim to cement the Internet sensation as more than a flash in the pan. With "Panini," he's already proven he can be more than a one-hit wonder.",
"title": "Lil Nas X Proves He's Not A One-Hit Wonder With 'Panini' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lil Nas X Proves He's Not A One-Hit Wonder With 'Panini'",
"datePublished": "2019-06-20T13:15:26-07:00",
"dateModified": "2024-01-11T17:23:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lil-nas-x-proves-hes-not-a-one-hit-wonder-with-panini",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=734437024&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Rosalind Faulkner",
"nprStoryDate": "Thu, 20 Jun 2019 14:31:36 -0400",
"nprLastModifiedDate": "Thu, 20 Jun 2019 14:55:29 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/06/20/734437024/lil-nas-x-proves-hes-not-a-one-hit-wonder-with-panini?ft=nprml&f=734437024",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Jason Kempin",
"nprStoryId": "734437024",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 20 Jun 2019 14:54:00 -0400",
"path": "/arts/13859988/lil-nas-x-proves-hes-not-a-one-hit-wonder-with-panini",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13854359",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1PrWA4C8eLw'\n title='//www.youtube.com/embed/1PrWA4C8eLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13859988/lil-nas-x-proves-hes-not-a-one-hit-wonder-with-panini",
"authors": [
"byline_arts_13859988"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13859991",
"label": "arts_137"
},
"arts_13859890": {
"type": "posts",
"id": "arts_13859890",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13859890",
"score": null,
"sort": [
1560962268000
]
},
"guestAuthors": [],
"slug": "joy-harjo-becomes-the-first-native-american-u-s-poet-laureate",
"title": "Joy Harjo Becomes The First Native American U.S. Poet Laureate",
"publishDate": 1560962268,
"format": "standard",
"headTitle": "Joy Harjo Becomes The First Native American U.S. Poet Laureate | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A member of the Muscogee Creek Nation, the 68-year-old poet and musician says she bears \"the honor on behalf of the people and my ancestors\" and aims to serve as an \"ambassador\" of the art form.",
"status": "publish",
"parent": 0,
"modified": 1726766753,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1183
},
"headData": {
"title": "Joy Harjo Becomes The First Native American U.S. Poet Laureate | KQED",
"description": "A member of the Muscogee Creek Nation, the 68-year-old poet and musician says she bears "the honor on behalf of the people and my ancestors" and aims to serve as an "ambassador" of the art form.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Joy Harjo Becomes The First Native American U.S. Poet Laureate",
"datePublished": "2019-06-19T09:37:48-07:00",
"dateModified": "2024-09-19T10:25:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Shawn Miller",
"nprByline": "Lynn Neary, Patrick Jarenwattananon",
"nprImageAgency": "Library of Congress",
"nprStoryId": "733727917",
"nprApiLink": "http://api.npr.org/query?id=733727917&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/06/19/733727917/joy-harjo-becomes-the-first-native-american-u-s-poet-laureate?ft=nprml&f=733727917",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 19 Jun 2019 11:13:00 -0400",
"nprStoryDate": "Wed, 19 Jun 2019 08:00:17 -0400",
"nprLastModifiedDate": "Wed, 19 Jun 2019 11:13:28 -0400",
"path": "/arts/13859890/joy-harjo-becomes-the-first-native-american-u-s-poet-laureate",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\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>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13859890/joy-harjo-becomes-the-first-native-american-u-s-poet-laureate",
"authors": [
"byline_arts_13859890"
],
"categories": [
"arts_73",
"arts_235"
],
"tags": [
"arts_928",
"arts_4566",
"arts_7669",
"arts_1496",
"arts_2728",
"arts_1234"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13859892",
"label": "arts_137"
},
"arts_13859446": {
"type": "posts",
"id": "arts_13859446",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13859446",
"score": null,
"sort": [
1560296819000
]
},
"guestAuthors": [],
"slug": "radiohead-releases-hacked-demo-recordings-from-ok-computer-sessions",
"title": "Radiohead Releases 'Hacked' Demo Recordings From 'OK Computer' Sessions",
"publishDate": 1560296819,
"format": "standard",
"headTitle": "Radiohead Releases ‘Hacked’ Demo Recordings From ‘OK Computer’ Sessions | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The band decided to release the 18 hours of raw audio after frontman Thom Yorke's personal library of minidiscs was reportedly stolen and leaked online.",
"status": "publish",
"parent": 0,
"modified": 1726704641,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 234
},
"headData": {
"title": "Radiohead Releases 'Hacked' Demo Recordings From 'OK Computer' Sessions | KQED",
"description": "The band decided to release the 18 hours of raw audio after frontman Thom Yorke's personal library of minidiscs was reportedly stolen and leaked online.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Radiohead Releases 'Hacked' Demo Recordings From 'OK Computer' Sessions",
"datePublished": "2019-06-11T16:46:59-07:00",
"dateModified": "2024-09-18T17:10:41-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jim Steinfeldt",
"nprByline": "Robin Hilton",
"nprImageAgency": "Getty Images",
"nprStoryId": "731591061",
"nprApiLink": "http://api.npr.org/query?id=731591061&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2019/06/11/731591061/radiohead-releases-hacked-demo-recordings-from-ok-computer-sessions?ft=nprml&f=731591061",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 11 Jun 2019 09:12:00 -0400",
"nprStoryDate": "Tue, 11 Jun 2019 09:12:49 -0400",
"nprLastModifiedDate": "Tue, 11 Jun 2019 09:12:59 -0400",
"path": "/arts/13859446/radiohead-releases-hacked-demo-recordings-from-ok-computer-sessions",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13859446/radiohead-releases-hacked-demo-recordings-from-ok-computer-sessions",
"authors": [
"byline_arts_13859446"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_2624",
"arts_7618",
"arts_1377",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13859447",
"label": "arts_137"
},
"arts_13859375": {
"type": "posts",
"id": "arts_13859375",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13859375",
"score": null,
"sort": [
1560211231000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1560211231,
"format": "aside",
"title": "In 'Ayesha at Last,' a Take on Austen That's Sparky and Sensitive",
"headTitle": "In ‘Ayesha at Last,’ a Take on Austen That’s Sparky and Sensitive | KQED",
"content": "\u003cfigure id=\"attachment_13859377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ayesha-at-last-800x1200.jpg\" alt=\"'Ayesha at Last' by Uzma Jalaluddin. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Ayesha at Last’ by Uzma Jalaluddin.\u003c/figcaption>\u003c/figure>\n\u003cp>South Asian adaptations of Jane Austen’s timeless \u003cem>Pride and Prejudice \u003c/em>have become quite popular recently — and no, watching the 2005 Bollywood-style token film \u003cem>Bride and Prejudice\u003c/em> — the only famous Indian adaptation of Austen’s novel — doesn’t mean we’ve seen it all. Uzma Jalaluddin’s debut novel \u003cem>Ayesha at Last\u003c/em> — which reads like an Indian soap opera with a dash of Shakespeare — stands out beautifully in the crowd.\u003c/p>\n\u003cp>The novel kicks off with Khalid Mirza and Ayesha Shamsi, two Muslims living in Toronto, who clash at every turn over different interpretations of their faith. Khalid, who’s more conservative, is content with allowing his controlling mother to run his life and arrange his marriage because “love comes after marriage.” Ayesha, on the other hand, is a fiercely independent poet on the rise, who would much rather focus on her career and find a husband on her own than be pressured into a relationship by her gossipy community, just because she’s getting older.\u003c/p>\n\u003cp>When they’re forced to work on a conference together at their mosque, judgmental glares and biting remarks give way to a burgeoning attraction that leaves Khalid confused; after all, his mother has always warned him about the dangers of pre-marital love. “These Western ideas of romantic love are utter nonsense. Just look at the American divorce rate,” his Ammi says. [aside postid='news_11753466']\u003c/p>\n\u003cp>Understandably, we don’t see traditionally sexy scenes in \u003cem>Ayesha at Last\u003c/em>, but the palpable friction between Khalid and Ayesha as they dance around like two magnets desperate to connect creates a whole new level of non-physical seduction. Jalaluddin carefully teases out their romance, taking just enough time and adding just enough heat to make it rise as gracefully as Ayesha’s grandmother’s parathas.\u003c/p>\n\u003cp>Their encounters overflow with tension — which reaches a peak when Khalid’s mother sets him up with Ayesha’s younger (and wealthier) cousin Hafsa, thereby forcing them to admit their feelings and look past their differences, or lose each other for good. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the similarities in the premises, \u003cem>Ayesha at Last \u003c/em>is more than just a Muslim retelling of Austen’s work; Jalaluddin constructs a timely and enlightening narrative that validates the experiences of many South Asians and Muslims today, while weaving in universal themes of identity, class, and discrimination. Though the topic of arranged marriage is prominent in the story, it acts more as a conduit to start lively debates about tradition and change among the different generations. And by highlighting ideological differences between many of the Muslim characters, particularly Ayesha and Khalid, Jalaluddin helps dismantle the misconception that all Muslims are alike. [aside postid='arts_13858424']\u003c/p>\n\u003cp>Even so, our romantic duo experiences their fair share of microaggressions and discrimination because of their culture and religious attire; in fact, Khalid’s supervisor at work goes to extreme lengths to sabotage him, and the uncertainty that constantly follows him at the office — coupled with the private workplace conversations we hear about him — is heartbreaking. Jalaluddin, however, empowers her characters to stand up to injustice and practice their religion with pride instead of staying silent. They don’t ask why they’re being victimized, rather, they want to know how they can speak up, educate others, and be authentic to themselves. [aside postid='arts_13859162']\u003c/p>\n\u003cp>By actively discussing their faith, Ayesha and Khalid begin to change the xenophobic narrative that so often surrounds Islam. In many ways, \u003cem>Ayesha at Last\u003c/em>‘s fictional universe acts as a microcosm of a diverse and oft-misunderstood community, and Jalaluddin’s compassionate and sensitive writing about it radiates off the page.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Kamrun Nesa is a freelance writer based in New York. Her work has been featured in \u003c/em>The Washington Post\u003cem>, \u003c/em>Bustle\u003cem>, \u003c/em>PopSugar\u003cem>, and \u003c/em>HelloGiggles\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright to \u003ca href=\"http://npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> 2019.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 683,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705026026,
"excerpt": "Uzma Jalaluddin's adaptation of 'Pride and Prejudice' takes on arranged marriage in Toronto's Muslim immigrant community. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Uzma Jalaluddin's adaptation of 'Pride and Prejudice' takes on arranged marriage in Toronto's Muslim immigrant community. ",
"title": "In 'Ayesha at Last,' a Take on Austen That's Sparky and Sensitive | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Ayesha at Last,' a Take on Austen That's Sparky and Sensitive",
"datePublished": "2019-06-10T17:00:31-07:00",
"dateModified": "2024-01-11T18:20:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-ayesha-at-last-a-take-on-austen-thats-sparky-and-sensitive",
"status": "publish",
"nprByline": "Kamrun Nesa",
"sticky": false,
"path": "/arts/13859375/in-ayesha-at-last-a-take-on-austen-thats-sparky-and-sensitive",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13859377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ayesha-at-last-800x1200.jpg\" alt=\"'Ayesha at Last' by Uzma Jalaluddin. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Ayesha at Last’ by Uzma Jalaluddin.\u003c/figcaption>\u003c/figure>\n\u003cp>South Asian adaptations of Jane Austen’s timeless \u003cem>Pride and Prejudice \u003c/em>have become quite popular recently — and no, watching the 2005 Bollywood-style token film \u003cem>Bride and Prejudice\u003c/em> — the only famous Indian adaptation of Austen’s novel — doesn’t mean we’ve seen it all. Uzma Jalaluddin’s debut novel \u003cem>Ayesha at Last\u003c/em> — which reads like an Indian soap opera with a dash of Shakespeare — stands out beautifully in the crowd.\u003c/p>\n\u003cp>The novel kicks off with Khalid Mirza and Ayesha Shamsi, two Muslims living in Toronto, who clash at every turn over different interpretations of their faith. Khalid, who’s more conservative, is content with allowing his controlling mother to run his life and arrange his marriage because “love comes after marriage.” Ayesha, on the other hand, is a fiercely independent poet on the rise, who would much rather focus on her career and find a husband on her own than be pressured into a relationship by her gossipy community, just because she’s getting older.\u003c/p>\n\u003cp>When they’re forced to work on a conference together at their mosque, judgmental glares and biting remarks give way to a burgeoning attraction that leaves Khalid confused; after all, his mother has always warned him about the dangers of pre-marital love. “These Western ideas of romantic love are utter nonsense. Just look at the American divorce rate,” his Ammi says. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11753466",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Understandably, we don’t see traditionally sexy scenes in \u003cem>Ayesha at Last\u003c/em>, but the palpable friction between Khalid and Ayesha as they dance around like two magnets desperate to connect creates a whole new level of non-physical seduction. Jalaluddin carefully teases out their romance, taking just enough time and adding just enough heat to make it rise as gracefully as Ayesha’s grandmother’s parathas.\u003c/p>\n\u003cp>Their encounters overflow with tension — which reaches a peak when Khalid’s mother sets him up with Ayesha’s younger (and wealthier) cousin Hafsa, thereby forcing them to admit their feelings and look past their differences, or lose each other for good. \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>Despite the similarities in the premises, \u003cem>Ayesha at Last \u003c/em>is more than just a Muslim retelling of Austen’s work; Jalaluddin constructs a timely and enlightening narrative that validates the experiences of many South Asians and Muslims today, while weaving in universal themes of identity, class, and discrimination. Though the topic of arranged marriage is prominent in the story, it acts more as a conduit to start lively debates about tradition and change among the different generations. And by highlighting ideological differences between many of the Muslim characters, particularly Ayesha and Khalid, Jalaluddin helps dismantle the misconception that all Muslims are alike. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13858424",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even so, our romantic duo experiences their fair share of microaggressions and discrimination because of their culture and religious attire; in fact, Khalid’s supervisor at work goes to extreme lengths to sabotage him, and the uncertainty that constantly follows him at the office — coupled with the private workplace conversations we hear about him — is heartbreaking. Jalaluddin, however, empowers her characters to stand up to injustice and practice their religion with pride instead of staying silent. They don’t ask why they’re being victimized, rather, they want to know how they can speak up, educate others, and be authentic to themselves. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13859162",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By actively discussing their faith, Ayesha and Khalid begin to change the xenophobic narrative that so often surrounds Islam. In many ways, \u003cem>Ayesha at Last\u003c/em>‘s fictional universe acts as a microcosm of a diverse and oft-misunderstood community, and Jalaluddin’s compassionate and sensitive writing about it radiates off the page.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Kamrun Nesa is a freelance writer based in New York. Her work has been featured in \u003c/em>The Washington Post\u003cem>, \u003c/em>Bustle\u003cem>, \u003c/em>PopSugar\u003cem>, and \u003c/em>HelloGiggles\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright to \u003ca href=\"http://npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> 2019.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13859375/in-ayesha-at-last-a-take-on-austen-thats-sparky-and-sensitive",
"authors": [
"byline_arts_13859375"
],
"categories": [
"arts_73"
],
"tags": [
"arts_928",
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13859381",
"label": "arts_137"
},
"arts_13859371": {
"type": "posts",
"id": "arts_13859371",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13859371",
"score": null,
"sort": [
1560206803000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1560206803,
"format": "standard",
"title": "Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community",
"headTitle": "Alone Together: Robyn’s ‘Dancing On My Own’ Opens The Corners Of Community | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>[aside postID='pop_109670' hero='https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/robyn-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\u003c/p>\n\u003cp>https://youtu.be/CcNo07Xp8aQ\u003c/p>\n\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. [/pullquote]\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>[aside postID='arts_13839666' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/08/ttt-robyn_custom-886e1f4c19aec3e192b3965d40d4351f0242ef32-1180x813.jpg' target='_blank']\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\u003c/p>\n\u003cp>https://youtu.be/q31tGyBJhRY\u003c/p>\n\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1867,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 37
},
"modified": 1705026062,
"excerpt": "The magic of Robyn's millennial anthem is its bait and switch: It's a fun, energetic dance song about being lonely and heartbroken. And yet, the minute you hear it, you instantly feel less alone.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The magic of Robyn's millennial anthem is its bait and switch: It's a fun, energetic dance song about being lonely and heartbroken. And yet, the minute you hear it, you instantly feel less alone.",
"title": "Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community",
"datePublished": "2019-06-10T15:46:43-07:00",
"dateModified": "2024-01-11T18:21:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "alone-together-robyns-dancing-on-my-own-opens-the-corners-of-community",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=730641583&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 10 Jun 2019 05:03:00 -0400",
"nprLastModifiedDate": "Mon, 10 Jun 2019 12:31:34 -0400",
"nprHtmlLink": "https://www.npr.org/2019/06/10/730641583/robyn-dancing-on-my-own-alone-together-american-anthem?ft=nprml&f=730641583",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/06/20190610_me_alone_together_robyns_dancing_on_my_own_opens_the_corners_of_community.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=415&p=3&story=730641583&ft=nprml&f=730641583",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1731196362-26350b.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=415&p=3&story=730641583&ft=nprml&f=730641583",
"nprStoryId": "730641583",
"nprByline": "Sam Sanders",
"sticky": false,
"audioTrackLength": 415,
"nprImageCredit": "Charley Gallay",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 10 Jun 2019 12:31:00 -0400",
"path": "/arts/13859371/alone-together-robyns-dancing-on-my-own-opens-the-corners-of-community",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/06/20190610_me_alone_together_robyns_dancing_on_my_own_opens_the_corners_of_community.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=415&p=3&story=730641583&ft=nprml&f=730641583",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_109670",
"hero": "https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/robyn-1020x574.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CcNo07Xp8aQ'\n title='//www.youtube.com/embed/CcNo07Xp8aQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": " It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. ",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13839666",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2018/08/ttt-robyn_custom-886e1f4c19aec3e192b3965d40d4351f0242ef32-1180x813.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q31tGyBJhRY'\n title='//www.youtube.com/embed/q31tGyBJhRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13859371/alone-together-robyns-dancing-on-my-own-opens-the-corners-of-community",
"authors": [
"byline_arts_13859371"
],
"categories": [
"arts_69",
"arts_75"
],
"tags": [
"arts_596",
"arts_925",
"arts_6012"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13859373",
"label": "arts_137"
},
"arts_13859175": {
"type": "posts",
"id": "arts_13859175",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13859175",
"score": null,
"sort": [
1559866946000
]
},
"guestAuthors": [],
"slug": "life-with-picasso-stands-as-an-invaluable-work-of-art-history",
"title": "'Life With Picasso' Stands As An Invaluable Work Of Art History",
"publishDate": 1559866946,
"format": "standard",
"headTitle": "‘Life With Picasso’ Stands As An Invaluable Work Of Art History | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>[aside postID='arts_13857445' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/09-TRIPLE-ELVIS_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Newly reissued, the intellectual heft of Françoise Gilot's now classic memoir is in its art criticism, even as its emotional arc lies in Picasso and Gilot's unequal romance.",
"status": "publish",
"parent": 0,
"modified": 1782406606,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1040
},
"headData": {
"title": "'Life With Picasso' Stands As An Invaluable Work Of Art History | KQED",
"description": "Newly reissued, the intellectual heft of Françoise Gilot's now classic memoir is in its art criticism, even as its emotional arc lies in Picasso and Gilot's unequal romance.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Life With Picasso' Stands As An Invaluable Work Of Art History",
"datePublished": "2019-06-06T17:22:26-07:00",
"dateModified": "2026-06-25T09:56:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprImageCredit": "Lipnitzki",
"nprByline": "Lily Meyer",
"nprImageAgency": "Roger Viollet/Getty Images",
"nprStoryId": "729956221",
"nprApiLink": "http://api.npr.org/query?id=729956221&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/06/06/729956221/life-with-picasso-stands-as-an-invaluable-work-of-art-history?ft=nprml&f=729956221",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 06 Jun 2019 11:44:00 -0400",
"nprStoryDate": "Thu, 06 Jun 2019 09:01:18 -0400",
"nprLastModifiedDate": "Thu, 06 Jun 2019 11:44:14 -0400",
"path": "/arts/13859175/life-with-picasso-stands-as-an-invaluable-work-of-art-history",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13857445",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/09-TRIPLE-ELVIS_COVER-1920x1080.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13859175/life-with-picasso-stands-as-an-invaluable-work-of-art-history",
"authors": [
"byline_arts_13859175"
],
"categories": [
"arts_1",
"arts_73",
"arts_235"
],
"tags": [
"arts_2798",
"arts_7446",
"arts_928",
"arts_5898",
"arts_596",
"arts_7580",
"arts_901"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13859176",
"label": "arts_137"
},
"arts_13858891": {
"type": "posts",
"id": "arts_13858891",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13858891",
"score": null,
"sort": [
1559664720000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1559664720,
"format": "standard",
"title": "iTunes' Death Is All About How We Listen To Music Today",
"headTitle": "iTunes’ Death Is All About How We Listen To Music Today | KQED",
"content": "\u003cp>After 18 years, Apple is killing iTunes — well, sort of. The media management software for most Mac users (and many Windows users) is being broken into separate pieces for separate uses: Music, podcasts and television will soon have \u003ca href=\"https://www.apple.com/newsroom/2019/06/apple-previews-macos-catalina/\">their own apps\u003c/a> on the new Catalina Mac operating system.\u003c/p>\n\u003cp>Apple announced the move on Monday along with new hardware, including a new Mac Pro and Pro Display XDR, and entertainment and lifestyle features.\u003cbr>\n[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg' target='_blank']\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iTunes will continue as a music store, but the new music app will be more closely aligned with Apple’s music-streaming service.\u003c/p>\n\u003cp>Apple has seen a \u003ca href=\"https://www.businessinsider.com/apple-biggest-iphone-sales-decline-in-3-years-gartner-says-2019-2\">decline in iPhone sales\u003c/a> due to a confluence of factors, including fewer buyers in China and an extended upgrade cycle. The company has been rebranding itself as a streaming-entertainment provider.\u003c/p>\n\u003cp>[aside postID='arts_13849625' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/01/Pandora.MAIN_-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 561,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705026099,
"excerpt": "After 18 years, Apple is killing iTunes — sort of. The software is being broken into separate pieces for separate uses on Mac computers: Music, podcasts and TV will soon have their own apps.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After 18 years, Apple is killing iTunes — sort of. The software is being broken into separate pieces for separate uses on Mac computers: Music, podcasts and TV will soon have their own apps.",
"title": "iTunes' Death Is All About How We Listen To Music Today | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "iTunes' Death Is All About How We Listen To Music Today",
"datePublished": "2019-06-04T09:12:00-07:00",
"dateModified": "2024-01-11T18:21:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "itunes-death-is-all-about-how-we-listen-to-music-today",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=729290123&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan, Jasmine Garsd",
"nprStoryDate": "Mon, 03 Jun 2019 17:10:27 -0400",
"nprLastModifiedDate": "Tue, 04 Jun 2019 09:59:15 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/06/03/729290123/itunes-death-is-all-about-how-we-listen-to-music-today?ft=nprml&f=729290123",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Justin Sullivan",
"nprStoryId": "729290123",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 04 Jun 2019 09:59:00 -0400",
"path": "/arts/13858891/itunes-death-is-all-about-how-we-listen-to-music-today",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 18 years, Apple is killing iTunes — well, sort of. The media management software for most Mac users (and many Windows users) is being broken into separate pieces for separate uses: Music, podcasts and television will soon have \u003ca href=\"https://www.apple.com/newsroom/2019/06/apple-previews-macos-catalina/\">their own apps\u003c/a> on the new Catalina Mac operating system.\u003c/p>\n\u003cp>Apple announced the move on Monday along with new hardware, including a new Mac Pro and Pro Display XDR, and entertainment and lifestyle features.\u003cbr>\n\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852882",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\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>iTunes will continue as a music store, but the new music app will be more closely aligned with Apple’s music-streaming service.\u003c/p>\n\u003cp>Apple has seen a \u003ca href=\"https://www.businessinsider.com/apple-biggest-iphone-sales-decline-in-3-years-gartner-says-2019-2\">decline in iPhone sales\u003c/a> due to a confluence of factors, including fewer buyers in China and an extended upgrade cycle. The company has been rebranding itself as a streaming-entertainment provider.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13849625",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/01/Pandora.MAIN_-1020x574.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13858891/itunes-death-is-all-about-how-we-listen-to-music-today",
"authors": [
"byline_arts_13858891"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_3397",
"arts_6425",
"arts_746",
"arts_596",
"arts_4136",
"arts_1935"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13858892",
"label": "arts_137"
},
"arts_13858815": {
"type": "posts",
"id": "arts_13858815",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13858815",
"score": null,
"sort": [
1559585890000
]
},
"guestAuthors": [],
"slug": "horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us",
"title": "Horrors And Humanity In Ava DuVernay's Gripping 'When They See Us'",
"publishDate": 1559585890,
"format": "standard",
"headTitle": "Horrors And Humanity In Ava DuVernay’s Gripping ‘When They See Us’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>[aside postID='arts_13844441' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/Nijla_BTL_Thumbnail-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>[aside postID='arts_13820054' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg' target='_blank']\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"blocks": [],
"excerpt": "Ava DuVernay's powerful Netflix series shows a system that frequently fails men of color — and the costs of that system to a famous group of boys who were in the wrong place at the wrong time.",
"status": "publish",
"parent": 0,
"modified": 1726766888,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1191
},
"headData": {
"title": "Horrors And Humanity In Ava DuVernay's Gripping 'When They See Us' | KQED",
"description": "Ava DuVernay's powerful Netflix series shows a system that frequently fails men of color — and the costs of that system to a famous group of boys who were in the wrong place at the wrong time.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Horrors And Humanity In Ava DuVernay's Gripping 'When They See Us'",
"datePublished": "2019-06-03T11:18:10-07:00",
"dateModified": "2024-09-19T10:28:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Atsushi Nishijima",
"nprByline": "Eric Deggans",
"nprImageAgency": "Netflix",
"nprStoryId": "728237648",
"nprApiLink": "http://api.npr.org/query?id=728237648&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/06/01/728237648/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us?ft=nprml&f=728237648",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 01 Jun 2019 05:01:00 -0400",
"nprStoryDate": "Sat, 01 Jun 2019 05:01:18 -0400",
"nprLastModifiedDate": "Sat, 01 Jun 2019 05:01:18 -0400",
"path": "/arts/13858815/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13844441",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/Nijla_BTL_Thumbnail-1920x1080.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13820054",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13858815/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us",
"authors": [
"byline_arts_13858815"
],
"categories": [
"arts_75",
"arts_990"
],
"tags": [
"arts_3850",
"arts_1753",
"arts_1118",
"arts_596",
"arts_1526"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13858816",
"label": "arts_137"
},
"arts_13858630": {
"type": "posts",
"id": "arts_13858630",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13858630",
"score": null,
"sort": [
1559322459000
]
},
"guestAuthors": [],
"slug": "love-finds-ali-wong-and-randall-park-in-always-be-my-maybe",
"title": "Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'",
"publishDate": 1559322459,
"format": "standard",
"headTitle": "Love Finds Ali Wong And Randall Park In ‘Always Be My Maybe’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Randall Park and Ali Wong star in a Netflix romantic comedy about two young friends who grow up and grow apart, only to find each other again as adults. Also, there's Keanu Reeves.",
"status": "publish",
"parent": 0,
"modified": 1726705156,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1260
},
"headData": {
"title": "Love Finds Ali Wong And Randall Park In 'Always Be My Maybe' | KQED",
"description": "Randall Park and Ali Wong star in a Netflix romantic comedy about two young friends who grow up and grow apart, only to find each other again as adults. Also, there's Keanu Reeves.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'",
"datePublished": "2019-05-31T10:07:39-07:00",
"dateModified": "2024-09-18T17:19:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Ed Araquel",
"nprByline": "Linda Holmes",
"nprImageAgency": "Netflix",
"nprStoryId": "728311649",
"nprApiLink": "http://api.npr.org/query?id=728311649&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/05/31/728311649/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe?ft=nprml&f=728311649",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 31 May 2019 09:46:00 -0400",
"nprStoryDate": "Fri, 31 May 2019 05:00:48 -0400",
"nprLastModifiedDate": "Fri, 31 May 2019 09:46:56 -0400",
"path": "/arts/13858630/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13812554",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13858630/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe",
"authors": [
"byline_arts_13858630"
],
"categories": [
"arts_968",
"arts_235",
"arts_75"
],
"tags": [
"arts_549",
"arts_1118",
"arts_977",
"arts_3324",
"arts_596",
"arts_1146"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13858632",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 1464,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13860541",
"arts_13860137",
"arts_13860023",
"arts_13859988",
"arts_13859890",
"arts_13859446",
"arts_13859375",
"arts_13859371",
"arts_13859175",
"arts_13858891",
"arts_13858815",
"arts_13858630"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_2855": {
"type": "terms",
"id": "arts_2855",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2855",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Filipino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Filipino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2867,
"slug": "filipino",
"isLoading": false,
"link": "/arts/tag/filipino"
},
"arts_8924": {
"type": "terms",
"id": "arts_8924",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8924",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ruby Ibarra",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ruby Ibarra Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8936,
"slug": "ruby-ibarra",
"isLoading": false,
"link": "/arts/tag/ruby-ibarra"
},
"arts_4271": {
"type": "terms",
"id": "arts_4271",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4271",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tiny desk concert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tiny desk concert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4283,
"slug": "tiny-desk-concert",
"isLoading": false,
"link": "/arts/tag/tiny-desk-concert"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_3797": {
"type": "terms",
"id": "arts_3797",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3797",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sci-fi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sci-fi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3809,
"slug": "sci-fi",
"isLoading": false,
"link": "/arts/tag/sci-fi"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_4566": {
"type": "terms",
"id": "arts_4566",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4566",
"found": true
},
"relationships": {},
"featImg": null,
"name": "literature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "literature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4578,
"slug": "literature",
"isLoading": false,
"link": "/arts/tag/literature"
},
"arts_7669": {
"type": "terms",
"id": "arts_7669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "poet laureate",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "poet laureate Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7681,
"slug": "poet-laureate",
"isLoading": false,
"link": "/arts/tag/poet-laureate"
},
"arts_1496": {
"type": "terms",
"id": "arts_1496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1508,
"slug": "poetry",
"isLoading": false,
"link": "/arts/tag/poetry"
},
"arts_2728": {
"type": "terms",
"id": "arts_2728",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2728",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Spoken Word Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Spoken Word Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2740,
"slug": "spoken-word-poetry",
"isLoading": false,
"link": "/arts/tag/spoken-word-poetry"
},
"arts_1234": {
"type": "terms",
"id": "arts_1234",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1234",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the spine",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the spine Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1246,
"slug": "the-spine",
"isLoading": false,
"link": "/arts/tag/the-spine"
},
"arts_2624": {
"type": "terms",
"id": "arts_2624",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2624",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2636,
"slug": "new-music",
"isLoading": false,
"link": "/arts/tag/new-music"
},
"arts_7618": {
"type": "terms",
"id": "arts_7618",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7618",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new release",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new release Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7630,
"slug": "new-release",
"isLoading": false,
"link": "/arts/tag/new-release"
},
"arts_1377": {
"type": "terms",
"id": "arts_1377",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1377",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1389,
"slug": "npr",
"isLoading": false,
"link": "/arts/tag/npr"
},
"arts_925": {
"type": "terms",
"id": "arts_925",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "925",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 943,
"slug": "pop",
"isLoading": false,
"link": "/arts/tag/pop"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_7446": {
"type": "terms",
"id": "arts_7446",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7446",
"found": true
},
"relationships": {},
"featImg": null,
"name": "book review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Bay Area's Literary Lens: KQED Unpacks Top Reads & Hidden Gems",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Bay Area's literary scene comes alive on KQED! Dive into reviews of local authors, uncover regional voices, and explore themes that resonate with the Bay Area.",
"metaRobotsNoIndex": "index",
"title": "Bay Area's Literary Lens: KQED Unpacks Top Reads & Hidden Gems",
"ogDescription": null
},
"ttid": 7458,
"slug": "book-review",
"isLoading": false,
"link": "/arts/tag/book-review"
},
"arts_5898": {
"type": "terms",
"id": "arts_5898",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5898",
"found": true
},
"relationships": {},
"featImg": null,
"name": "npr books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "npr books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5910,
"slug": "npr-books",
"isLoading": false,
"link": "/arts/tag/npr-books"
},
"arts_7580": {
"type": "terms",
"id": "arts_7580",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7580",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7592,
"slug": "sexism",
"isLoading": false,
"link": "/arts/tag/sexism"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_3397": {
"type": "terms",
"id": "arts_3397",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3397",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3409,
"slug": "apple",
"isLoading": false,
"link": "/arts/tag/apple"
},
"arts_6425": {
"type": "terms",
"id": "arts_6425",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bandcamp",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bandcamp Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6437,
"slug": "bandcamp",
"isLoading": false,
"link": "/arts/tag/bandcamp"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_4136": {
"type": "terms",
"id": "arts_4136",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4136",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Spotify",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Spotify Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4148,
"slug": "spotify",
"isLoading": false,
"link": "/arts/tag/spotify"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_3850": {
"type": "terms",
"id": "arts_3850",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3850",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ava duvernay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ava duvernay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3862,
"slug": "ava-duvernay",
"isLoading": false,
"link": "/arts/tag/ava-duvernay"
},
"arts_1753": {
"type": "terms",
"id": "arts_1753",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1753",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Donald Trump",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Donald Trump Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1765,
"slug": "donald-trump",
"isLoading": false,
"link": "/arts/tag/donald-trump"
},
"arts_1526": {
"type": "terms",
"id": "arts_1526",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1526",
"found": true
},
"relationships": {},
"featImg": null,
"name": "prison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "prison Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1538,
"slug": "prison",
"isLoading": false,
"link": "/arts/tag/prison"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
