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_13848930": {
"type": "attachments",
"id": "arts_13848930",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848930",
"found": true
},
"parent": 13848929,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-106135640_wide-1d39ca02d0f8a1167fe7c35988e00f17716c79cf-e1547755577366-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1547755525,
"modified": 1547755608,
"caption": "Poet Mary Oliver speaks at the 2010 Women's Conference in California.",
"description": "Poet Mary Oliver speaks at the 2010 Women's Conference in California.",
"title": "Poet Mary Oliver speaks at the 2010 Women's Conference in California.",
"credit": "Kevork Djansezian/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848535": {
"type": "attachments",
"id": "arts_13848535",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848535",
"found": true
},
"parent": 13848534,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/otbos_00489_r_wide-44b09be24d671c7b2777ca62b29c50d0ad87657d-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1547158643,
"modified": 1547159126,
"caption": "Felicity Jones as Ruth Bader Ginsburg in 'On the Basis of Sex.'",
"description": "Felicity Jones as Ruth Bader Ginsburg in 'On the Basis of Sex.'",
"title": "Felicity Jones as Ruth Bader Ginsburg in On the Basis of Sex.",
"credit": "Jonathan Wenk/Focus Features",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848490": {
"type": "attachments",
"id": "arts_13848490",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848490",
"found": true
},
"parent": 13848489,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/ace-cups-1_wide-28426a628f69204a5dc65ff91b222208cc651f4c-e1547141403459-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1547141119,
"modified": 1547141394,
"caption": "Decades after their original run in 1960s San Francisco, the members of Ace of Cups have finally released their first album.",
"description": "Decades after their original run in 1960s San Francisco, the members of Ace of Cups have finally released their first album.",
"title": "Decades after their original run in 1960s San Francisco, the members of Ace of Cups have finally released their first album.",
"credit": "Rachel Wright/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848437": {
"type": "attachments",
"id": "arts_13848437",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848437",
"found": true
},
"parent": 13848436,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-160x120.png",
"width": 160,
"mimeType": "image/png",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981.png",
"width": 746,
"height": 559
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/kimscon2-2ab6e964e7a910db9a0949f63e52d207b8203981-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1547066799,
"modified": 1547066884,
"caption": "The main cast of Kim's Convenience (from left): Simu Liu (Jung), Jean Yoon (Umma), Paul Sun-Hyung Lee (Appa), Andrea Bang (Janet), Andrew Phung (Kimchi), Nicole Power (Shannon Ross). Season 3 debuted on the CBC on Tuesday.",
"description": "The main cast of Kim's Convenience (from left): Simu Liu (Jung), Jean Yoon (Umma), Paul Sun-Hyung Lee (Appa), Andrea Bang (Janet), Andrew Phung (Kimchi), Nicole Power (Shannon Ross). Season 3 debuted on the CBC on Tuesday.",
"title": "The main cast of Kim's Convenience (from left): Simu Liu (Jung), Jean Yoon (Umma), Paul Sun-Hyung Lee (Appa), Andrea Bang (Janet), Andrew Phung (Kimchi), Nicole Power (Shannon Ross). Season 3 debuted on the CBC on Tuesday.",
"credit": "Canadian Broadcasting Corp.",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848432": {
"type": "attachments",
"id": "arts_13848432",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848432",
"found": true
},
"parent": 13848416,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-160x103.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 103
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882.jpg",
"width": 1920,
"height": 1230
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-1020x653.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 653
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-1200x769.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 769
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-800x513.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 513
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-1920x1230.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1230
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-768x492.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 492
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/GettyImages-89790014-e1547065291882-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1547065235,
"modified": 1547066107,
"caption": "On August 15-17 in 1969 an estimated 400,000 music fans gathered on Max Yasgur's farm in Bethel, N.Y. for the most celebrated music festival ever.",
"description": ". On August 15-17 in 1969 an estimated 400,000 music fans gathered on Max Yasgur's farm in Bethel, N.Y. for the most celebrated music festival ever.",
"title": "Woodstock Celebrates 40th Anniversary Of Historic Countercultural Concert",
"credit": "Photo by Mario Tama/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848351": {
"type": "attachments",
"id": "arts_13848351",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848351",
"found": true
},
"parent": 13848350,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778.jpg",
"width": 1598,
"height": 1198
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/50046947_2095108623881824_2460616107094966272_o-4d84713f60baadbcb27c47e49cd61131e3264778-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1546976108,
"modified": 1546976169,
"caption": "Sleater-Kinney and St. Vincent in the studio.",
"description": "Sleater-Kinney and St. Vincent in the studio.",
"title": "Sleater-Kinney and St. Vincent in the studio.",
"credit": "Jonny Cournoyer/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848339": {
"type": "attachments",
"id": "arts_13848339",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848339",
"found": true
},
"parent": 13848338,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-84881616-03ab633d81b595ec59f2e87bea1953cd65cd2520-e1546969107384-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1546968415,
"modified": 1546968995,
"caption": "Nina Simone onstage at the Newport Jazz Festival in 1968.",
"description": "Nina Simone onstage at the Newport Jazz Festival in 1968.",
"title": "Nina Simone onstage at the Newport Jazz Festival in 1968.",
"credit": "David Redfern/Redferns/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848279": {
"type": "attachments",
"id": "arts_13848279",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848279",
"found": true
},
"parent": 13848278,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-160x111.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 111
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276.jpg",
"width": 1920,
"height": 1328
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-1020x706.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 706
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-1200x830.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 830
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-800x553.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 553
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-1920x1328.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1328
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-768x531.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 531
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-490064598_custom-d7673c83e6e9cd3a9bbcbbe399ff9e53eb985c0c-e1546901406276-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1546901282,
"modified": 1546901393,
"caption": "R. Kelly onstage in Brooklyn in September 2015.",
"description": "R. Kelly onstage in Brooklyn in September 2015.",
"title": "R. Kelly onstage in Brooklyn in September 2015.",
"credit": "Mike Pont/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848272": {
"type": "attachments",
"id": "arts_13848272",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848272",
"found": true
},
"parent": 13848271,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2.jpg",
"width": 1490,
"height": 838
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/screenshot-2019-01-03-16.26.57_wide-3143a4dfbb8c24949593a410ba9c32411b38bcc2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1546895462,
"modified": 1546896254,
"caption": "#HUNNUROCK via YouTube/Screengrab by NPR",
"description": "#HUNNUROCK via YouTube/Screengrab by NPR",
"title": "#HUNNUROCK via YouTube/Screengrab by NPR",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848165": {
"type": "attachments",
"id": "arts_13848165",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848165",
"found": true
},
"parent": 13848164,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-160x115.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 115
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da.jpg",
"width": 2048,
"height": 1472
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-1020x733.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 733
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-1200x863.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 863
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-800x575.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 575
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-1920x1380.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1380
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-768x552.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 552
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/gettyimages-3248947_custom-bc1b8a70c4e27234417834e4467d5de423b2a9da-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1546833755,
"modified": 1546834178,
"caption": "American civil rights activist Bayard Rustin, pictured in 1964, as spokesman for the Citywide Committee for Integration, at the organization's headquarters, Silcam Presbyterian Church in New York City.",
"description": "American civil rights activist Bayard Rustin, pictured in 1964, as spokesman for the Citywide Committee for Integration, at the organization's headquarters, Silcam Presbyterian Church in New York City.",
"title": "American civil rights activist Bayard Rustin, pictured in 1964, as spokesman for the Citywide Committee for Integration, at the organization's headquarters, Silcam Presbyterian Church in New York City.",
"credit": "Patrick A. Burns/New York Times Co./Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848114": {
"type": "attachments",
"id": "arts_13848114",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848114",
"found": true
},
"parent": 13848113,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9.png",
"width": 1635,
"height": 920
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-1200x675.png",
"width": 1200,
"mimeType": "image/png",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/lizzo_wide-ccb65e7aeda3c826178b8d353e4eba14700ea8f9-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1546635824,
"modified": 1546636127,
"caption": "Lizzo's \"Juice\" is out today.",
"description": "Lizzo's \"Juice\" is out today.",
"title": "Lizzo's \"Juice\" is out today.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13848053": {
"type": "attachments",
"id": "arts_13848053",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13848053",
"found": true
},
"parent": 13848052,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/01/escape-room_wide-8c14636155ec20d73cd10919e9f6cc1a74a4670d-2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1546564298,
"modified": 1546564456,
"caption": "It's a Trap!: (l to r) Zoey (Taylor Russell), Jason (Jay Ellis), Ben (Logan Miller) and Mike (Tyler Labine) navigate puzzles in 'Escape Room.'",
"description": "It's a Trap!: (l to r) Zoey (Taylor Russell), Jason (Jay Ellis), Ben (Logan Miller) and Mike (Tyler Labine) navigate puzzles in 'Escape Room.'",
"title": "It's a Trap!: (l to r) Zoey (Taylor Russell), Jason (Jay Ellis), Ben (Logan Miller) and Mike (Tyler Labine) navigate puzzles in Escape Room.",
"credit": "David Bloomer/Sony Pictures Entertainment",
"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_13848929": {
"type": "authors",
"id": "byline_arts_13848929",
"meta": {
"override": true
},
"slug": "byline_arts_13848929",
"name": "Lynn Neary",
"isLoading": false
},
"byline_arts_13848534": {
"type": "authors",
"id": "byline_arts_13848534",
"meta": {
"override": true
},
"slug": "byline_arts_13848534",
"name": "Rachel Martin",
"isLoading": false
},
"byline_arts_13848489": {
"type": "authors",
"id": "byline_arts_13848489",
"meta": {
"override": true
},
"slug": "byline_arts_13848489",
"name": "Allyson McCabe",
"isLoading": false
},
"byline_arts_13848436": {
"type": "authors",
"id": "byline_arts_13848436",
"meta": {
"override": true
},
"slug": "byline_arts_13848436",
"name": "Ashley Westerman",
"isLoading": false
},
"byline_arts_13848416": {
"type": "authors",
"id": "byline_arts_13848416",
"meta": {
"override": true
},
"slug": "byline_arts_13848416",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13848350": {
"type": "authors",
"id": "byline_arts_13848350",
"meta": {
"override": true
},
"slug": "byline_arts_13848350",
"name": "Robin Hilton",
"isLoading": false
},
"byline_arts_13848338": {
"type": "authors",
"id": "byline_arts_13848338",
"meta": {
"override": true
},
"slug": "byline_arts_13848338",
"name": "Noel King, Walter Ray Watson",
"isLoading": false
},
"byline_arts_13848278": {
"type": "authors",
"id": "byline_arts_13848278",
"meta": {
"override": true
},
"slug": "byline_arts_13848278",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13848271": {
"type": "authors",
"id": "byline_arts_13848271",
"meta": {
"override": true
},
"slug": "byline_arts_13848271",
"name": "Katya Cengel",
"isLoading": false
},
"byline_arts_13848164": {
"type": "authors",
"id": "byline_arts_13848164",
"meta": {
"override": true
},
"slug": "byline_arts_13848164",
"name": "Emma Bowman",
"isLoading": false
},
"byline_arts_13848113": {
"type": "authors",
"id": "byline_arts_13848113",
"meta": {
"override": true
},
"slug": "byline_arts_13848113",
"name": "Joshua Bote",
"isLoading": false
},
"byline_arts_13848052": {
"type": "authors",
"id": "byline_arts_13848052",
"meta": {
"override": true
},
"slug": "byline_arts_13848052",
"name": "Scott Tobias",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262318
},
"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": 129
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 129
}
},
{
"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_13848929": {
"type": "posts",
"id": "arts_13848929",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848929",
"score": null,
"sort": [
1547755682000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1547755682,
"format": "standard",
"title": "Beloved Poet Mary Oliver, Who Believed Poetry 'Mustn't Be Fancy,' Dies At 83",
"headTitle": "Beloved Poet Mary Oliver, Who Believed Poetry ‘Mustn’t Be Fancy,’ Dies At 83 | KQED",
"content": "\u003cp>Much-loved poet Mary Oliver died Thursday of lymphoma, at her home in Florida. She was 83. Oliver won many awards for her poems, which often explore the link between nature and the spiritual world; she also won a legion of loyal readers who found both solace and joy in her work.\u003c/p>\n\u003cp>Oliver got a lot of her ideas for poems during long walks — a habit she developed as a kid growing up in rural Ohio. It was not a happy childhood: She said she was sexually abused and suffered from parental neglect. But \u003ca href=\"https://www.npr.org/2012/10/14/162785079/a-thousand-mornings-with-poet-mary-oliver\">as she told NPR in 2012\u003c/a>, she found refuge in two great passions that lasted her entire life.\u003c/p>\n\u003cp>She said, “The two things I loved from a very early age were the natural world and dead poets, [who] were my pals when I was a kid.”\u003c/p>\n\u003cp>Oliver published her first collection, \u003cem>No Voyage and Other Poems\u003c/em>, in her late 20s. She went on to win the Pulitzer Prize and the National Book Award. But writer Ruth Franklin believes such recognition probably wasn’t that important to Oliver. “I always had a sense of her as somebody who was just interested in following her own path, both spiritually and poetically,” she says.\u003c/p>\n\u003cp>In a \u003cem>New Yorker\u003c/em> article about Oliver’s 2017 book, \u003cem>Devotions\u003c/em>, \u003ca href=\"https://www.newyorker.com/magazine/2017/11/27/what-mary-olivers-critics-dont-understand\">Franklin wrote\u003c/a> that Oliver wasn’t always appreciated by critics, but she was still one of the country’s most popular poets. And there’s a reason for that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mary Oliver isn’t a difficult poet,” Franklin says. “Her work is incredibly accessible, and I think that’s what makes her so beloved by so many people. It doesn’t feel like you have to take a seminar in order to understand Mary Oliver’s poetry. She’s speaking directly to you as a human being.”\u003c/p>\n\u003cp>Oliver told NPR that simplicity was important to her. “Poetry, to be understood, must be clear,” she said. “It mustn’t be fancy. I have the feeling that a lot of poets writing now, they sort of tap dance through it. I always feel that whatever isn’t necessary should not be in the poem.”\u003c/p>\n\u003cp>Oliver lived for many years in Provincetown, Mass., with the love of her life, the photographer Molly Malone Cook. There, she continued her habit of taking long walks, which often inspired poems. She wrote about one such walk in her poem “The Summer Day”:\u003c/p>\n\u003cblockquote>\u003cp>Who made the world?\u003cbr>\nWho made the swan, and the black bear?\u003cbr>\nWho made the grasshopper?\u003cbr>\nThis grasshopper, I mean-\u003cbr>\nthe one who has flung herself out of the grass,\u003cbr>\nthe one who is eating sugar out of my hand,\u003cbr>\nwho is moving her jaws back and forth instead of up and down-\u003cbr>\nwho is gazing around with her enormous and complicated eyes.\u003cbr>\nNow she lifts her pale forearms and thoroughly washes her face.\u003cbr>\nNow she snaps her wings open, and floats away.\u003cbr>\nI don’t know exactly what a prayer is.\u003cbr>\nI do know how to pay attention, how to fall down\u003cbr>\ninto the grass, how to kneel down in the grass,\u003cbr>\nhow to be idle and blessed, how to stroll through the fields,\u003cbr>\nwhich is what I have been doing all day.\u003cbr>\nTell me, what else should I have done?\u003cbr>\nDoesn’t everything die at last, and too soon?\u003cbr>\nTell me, what is it you plan to do\u003cbr>\nwith your one wild and precious life?\u003c/p>\u003c/blockquote>\n\u003cp>Many of Oliver’s poems are a joyful celebration of nature, but she also wrote about the abuse she suffered as a child and her first brush with death from lung cancer. Ruth Franklin says her work is infused with a deep spirituality. “The way she writes these poems that feel like prayers, she channels the voice of somebody who it seems might possibly have access to God. I think her work does give a sense of someone who is in tune with the deepest mysteries of the universe.”\u003c/p>\n\u003cp>In her poem “\u003ca href=\"http://www.phys.unm.edu/~tw/fas/yits/archive/oliver_whendeathcomes.html\">When Death Comes\u003c/a>,” Oliver wrote this about the inevitable: “When it’s over, I want to say all my life/ I was a bride married to amazement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em>\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=Beloved+Poet+Mary+Oliver%2C+Who+Believed+Poetry+%27Mustn%27t+Be+Fancy%2C%27+Dies+At+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 752,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705026737,
"excerpt": "Oliver wasn't always appreciated by critics, but she was still one of the country's most popular poets. In 2012, she told NPR, \"Poetry, to be understood, must be clear.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Oliver wasn't always appreciated by critics, but she was still one of the country's most popular poets. In 2012, she told NPR, "Poetry, to be understood, must be clear."",
"title": "Beloved Poet Mary Oliver, Who Believed Poetry 'Mustn't Be Fancy,' Dies At 83 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beloved Poet Mary Oliver, Who Believed Poetry 'Mustn't Be Fancy,' Dies At 83",
"datePublished": "2019-01-17T12:08:02-08:00",
"dateModified": "2024-01-11T18:32:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beloved-poet-mary-oliver-who-believed-poetry-mustnt-be-fancy-dies-at-83",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=577380646&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Lynn Neary",
"nprStoryDate": "Thu, 17 Jan 2019 11:30:00 -0500",
"nprLastModifiedDate": "Thu, 17 Jan 2019 11:31:47 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/01/17/577380646/beloved-poet-mary-oliver-who-believed-poetry-mustn-t-be-fancy-dies-at-83?ft=nprml&f=577380646",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Kevork Djansezian",
"nprStoryId": "577380646",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 17 Jan 2019 11:31:00 -0500",
"path": "/arts/13848929/beloved-poet-mary-oliver-who-believed-poetry-mustnt-be-fancy-dies-at-83",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much-loved poet Mary Oliver died Thursday of lymphoma, at her home in Florida. She was 83. Oliver won many awards for her poems, which often explore the link between nature and the spiritual world; she also won a legion of loyal readers who found both solace and joy in her work.\u003c/p>\n\u003cp>Oliver got a lot of her ideas for poems during long walks — a habit she developed as a kid growing up in rural Ohio. It was not a happy childhood: She said she was sexually abused and suffered from parental neglect. But \u003ca href=\"https://www.npr.org/2012/10/14/162785079/a-thousand-mornings-with-poet-mary-oliver\">as she told NPR in 2012\u003c/a>, she found refuge in two great passions that lasted her entire life.\u003c/p>\n\u003cp>She said, “The two things I loved from a very early age were the natural world and dead poets, [who] were my pals when I was a kid.”\u003c/p>\n\u003cp>Oliver published her first collection, \u003cem>No Voyage and Other Poems\u003c/em>, in her late 20s. She went on to win the Pulitzer Prize and the National Book Award. But writer Ruth Franklin believes such recognition probably wasn’t that important to Oliver. “I always had a sense of her as somebody who was just interested in following her own path, both spiritually and poetically,” she says.\u003c/p>\n\u003cp>In a \u003cem>New Yorker\u003c/em> article about Oliver’s 2017 book, \u003cem>Devotions\u003c/em>, \u003ca href=\"https://www.newyorker.com/magazine/2017/11/27/what-mary-olivers-critics-dont-understand\">Franklin wrote\u003c/a> that Oliver wasn’t always appreciated by critics, but she was still one of the country’s most popular poets. And there’s a reason for that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mary Oliver isn’t a difficult poet,” Franklin says. “Her work is incredibly accessible, and I think that’s what makes her so beloved by so many people. It doesn’t feel like you have to take a seminar in order to understand Mary Oliver’s poetry. She’s speaking directly to you as a human being.”\u003c/p>\n\u003cp>Oliver told NPR that simplicity was important to her. “Poetry, to be understood, must be clear,” she said. “It mustn’t be fancy. I have the feeling that a lot of poets writing now, they sort of tap dance through it. I always feel that whatever isn’t necessary should not be in the poem.”\u003c/p>\n\u003cp>Oliver lived for many years in Provincetown, Mass., with the love of her life, the photographer Molly Malone Cook. There, she continued her habit of taking long walks, which often inspired poems. She wrote about one such walk in her poem “The Summer Day”:\u003c/p>\n\u003cblockquote>\u003cp>Who made the world?\u003cbr>\nWho made the swan, and the black bear?\u003cbr>\nWho made the grasshopper?\u003cbr>\nThis grasshopper, I mean-\u003cbr>\nthe one who has flung herself out of the grass,\u003cbr>\nthe one who is eating sugar out of my hand,\u003cbr>\nwho is moving her jaws back and forth instead of up and down-\u003cbr>\nwho is gazing around with her enormous and complicated eyes.\u003cbr>\nNow she lifts her pale forearms and thoroughly washes her face.\u003cbr>\nNow she snaps her wings open, and floats away.\u003cbr>\nI don’t know exactly what a prayer is.\u003cbr>\nI do know how to pay attention, how to fall down\u003cbr>\ninto the grass, how to kneel down in the grass,\u003cbr>\nhow to be idle and blessed, how to stroll through the fields,\u003cbr>\nwhich is what I have been doing all day.\u003cbr>\nTell me, what else should I have done?\u003cbr>\nDoesn’t everything die at last, and too soon?\u003cbr>\nTell me, what is it you plan to do\u003cbr>\nwith your one wild and precious life?\u003c/p>\u003c/blockquote>\n\u003cp>Many of Oliver’s poems are a joyful celebration of nature, but she also wrote about the abuse she suffered as a child and her first brush with death from lung cancer. Ruth Franklin says her work is infused with a deep spirituality. “The way she writes these poems that feel like prayers, she channels the voice of somebody who it seems might possibly have access to God. I think her work does give a sense of someone who is in tune with the deepest mysteries of the universe.”\u003c/p>\n\u003cp>In her poem “\u003ca href=\"http://www.phys.unm.edu/~tw/fas/yits/archive/oliver_whendeathcomes.html\">When Death Comes\u003c/a>,” Oliver wrote this about the inevitable: “When it’s over, I want to say all my life/ I was a bride married to amazement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em>\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=Beloved+Poet+Mary+Oliver%2C+Who+Believed+Poetry+%27Mustn%27t+Be+Fancy%2C%27+Dies+At+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848929/beloved-poet-mary-oliver-who-believed-poetry-mustnt-be-fancy-dies-at-83",
"authors": [
"byline_arts_13848929"
],
"categories": [
"arts_1564"
],
"tags": [
"arts_596",
"arts_1496",
"arts_1079"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848930",
"label": "arts_137"
},
"arts_13848534": {
"type": "posts",
"id": "arts_13848534",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848534",
"score": null,
"sort": [
1547215213000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1547215213,
"format": "standard",
"title": "'On The Basis Of Sex' Follows A Fiery Young Ruth Bader Ginsburg",
"headTitle": "‘On The Basis Of Sex’ Follows A Fiery Young Ruth Bader Ginsburg | KQED",
"content": "\u003cp>Supreme Court Justice Ruth Bader Ginsburg is having a moment. For the past couple of years, she's transcended her role on the Court, becoming a liberal pop culture icon.\u003c/p>\n\u003cp>CNN made a much-hailed documentary about her life, titled \u003ca href=\"https://www.npr.org/2018/05/04/608106604/jurist-prudent-documentary-rbg-profiles-ginsburg-on-and-off-the-bench\" target=\"_blank\" rel=\"noopener\">\u003ci>RBG\u003c/i>\u003c/a>. There have been several biographies. She wrote her own \u003ca href=\"https://www.npr.org/2016/10/03/495820477/no-ruth-bader-ginsburg-does-not-intend-to-retire-anytime-soon\" target=\"_blank\" rel=\"noopener\">memoir\u003c/a> in 2016. There’s even a coloring book.\u003c/p>\n\u003cp>Now, her story is being told yet again, in a new film starring Felicity Jones.\u003c/p>\n\u003cp>\u003cem>On the Basis of Sex\u003c/em> is inspired by the story of a young Ginsburg, plowing through law school as one of only nine women in her Harvard class. Despite a stellar academic career, she couldn’t find a job after graduating. So instead of starting her career in the courtroom, she went to the classroom, teaching at Rutgers University with a focus on sex discrimination law.\u003c/p>\n\u003cp>The film is directed by Mimi Leder, and she joined Felicity Jones to speak with \u003cem>Morning Edition\u003c/em> host Rachel Martin.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682894374/683862022\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Jones on preparing for the role\u003c/strong>\u003c/p>\n\u003cp>Initially, I was very very intimidated. It’s nerve wracking playing such a beloved woman, and I, myself, am a huge fan of her. But I had to put the fandom away, and play the truth of this woman’s experience, and really get into the mind of who this woman was when she was younger, when she was much more, in many respects, open to the world and show how does someone get to that position.\u003c/p>\n\u003cp>\u003cstrong>Leder on the tax law case at the center of the movie\u003c/strong>\u003c/p>\n\u003cp>[Marty Ginsburg] brings her this case. First of all, she didn’t teach tax cases. She never even read them … He was the tax lawyer and became one of the preeminent tax attorneys in our country. So, it’s a case about a man who is a caregiver, who files for a tax deduction … and is denied the tax deduction because he is a never-married man. And in those days the law read that only a woman is in the home, and only a widower can receive this tax deduction.\u003c/p>\n\u003cp>So they used this man, Charles Moritz, to argue gender discrimination, and they won this tax case, and what it did was it overturned 178 different laws that discriminated on the basis of sex and were found unconstitutional.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jones on the sexism Ginsburg faced even from her supporters, like Mel Wulf of the ACLU\u003c/strong>\u003c/p>\n\u003cp>I think he’s very much a creature of his time. He’s very representative of the sexism of those constant … patronizing comments, those dismissive remarks, the putdowns, the low expectations. Mel Wulf is not immune to that, and it just shows that Ruth was fighting on so many fronts.\u003c/p>\n\u003cp>\u003cstrong>Jones on Ginsburg’s relationship with her daughter Jane and inter-generational feminism\u003c/strong>\u003c/p>\n\u003cp>Ruth was very much at the mercy of time in many ways. You see that sort of 1950’s patriarchy at play, and she’s having to conform to that on so many levels, and she’s having to be so sophisticated in how she pushes against it, because to her the most important thing is that she wins. And then what you see with Jane is Jane doesn’t have to do that. The times have shifted enough that Jane can get angry and she can be more outspoken.\u003c/p>\n\u003cp>https://youtu.be/28dHbIR_NB4\u003c/p>\n\u003cp>\u003cem>Reena Advani and Victoria Whitley-Berry edited this interview for broadcast. Victoria Whitley-Berry and Petra Mayer adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">https://www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27On+The+Basis+Of+Sex%27+Follows+A+Fiery+Young+Ruth+Bader+Ginsburg&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 610,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705026760,
"excerpt": "The Supreme Court Justice is having a moment — a documentary, several biographies, even a coloring book. Now, a new movie chronicles her early career, including a landmark discrimination case.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Supreme Court Justice is having a moment — a documentary, several biographies, even a coloring book. Now, a new movie chronicles her early career, including a landmark discrimination case.",
"title": "'On The Basis Of Sex' Follows A Fiery Young Ruth Bader Ginsburg | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'On The Basis Of Sex' Follows A Fiery Young Ruth Bader Ginsburg",
"datePublished": "2019-01-11T06:00:13-08:00",
"dateModified": "2024-01-11T18:32:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on-the-basis-of-sex-follows-a-fiery-young-ruth-bader-ginsburg",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=682894374&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Thu, 10 Jan 2019 05:01:00 -0500",
"nprLastModifiedDate": "Thu, 10 Jan 2019 07:40:20 -0500",
"nprHtmlLink": "https://www.npr.org/2019/01/10/682894374/on-the-basis-of-sex-follows-a-fiery-young-ruth-bader-ginsburg?ft=nprml&f=682894374",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190110_me_on_the_basis_of_sex_follows_a_fiery_young_ruth_bader_ginsburg.mp3?orgId=1&topicId=1137&d=429&p=3&story=682894374&ft=nprml&f=682894374",
"nprImageAgency": "Focus Features",
"nprAudioM3u": "http://api.npr.org/m3u/1683862022-251ae8.m3u?orgId=1&topicId=1137&d=429&p=3&story=682894374&ft=nprml&f=682894374",
"nprStoryId": "682894374",
"nprByline": "Rachel Martin",
"sticky": false,
"audioTrackLength": 429,
"nprImageCredit": "Jonathan Wenk",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Jan 2019 08:06:00 -0500",
"path": "/arts/13848534/on-the-basis-of-sex-follows-a-fiery-young-ruth-bader-ginsburg",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190110_me_on_the_basis_of_sex_follows_a_fiery_young_ruth_bader_ginsburg.mp3?orgId=1&topicId=1137&d=429&p=3&story=682894374&ft=nprml&f=682894374",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Supreme Court Justice Ruth Bader Ginsburg is having a moment. For the past couple of years, she's transcended her role on the Court, becoming a liberal pop culture icon.\u003c/p>\n\u003cp>CNN made a much-hailed documentary about her life, titled \u003ca href=\"https://www.npr.org/2018/05/04/608106604/jurist-prudent-documentary-rbg-profiles-ginsburg-on-and-off-the-bench\" target=\"_blank\" rel=\"noopener\">\u003ci>RBG\u003c/i>\u003c/a>. There have been several biographies. She wrote her own \u003ca href=\"https://www.npr.org/2016/10/03/495820477/no-ruth-bader-ginsburg-does-not-intend-to-retire-anytime-soon\" target=\"_blank\" rel=\"noopener\">memoir\u003c/a> in 2016. There’s even a coloring book.\u003c/p>\n\u003cp>Now, her story is being told yet again, in a new film starring Felicity Jones.\u003c/p>\n\u003cp>\u003cem>On the Basis of Sex\u003c/em> is inspired by the story of a young Ginsburg, plowing through law school as one of only nine women in her Harvard class. Despite a stellar academic career, she couldn’t find a job after graduating. So instead of starting her career in the courtroom, she went to the classroom, teaching at Rutgers University with a focus on sex discrimination law.\u003c/p>\n\u003cp>The film is directed by Mimi Leder, and she joined Felicity Jones to speak with \u003cem>Morning Edition\u003c/em> host Rachel Martin.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682894374/683862022\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Jones on preparing for the role\u003c/strong>\u003c/p>\n\u003cp>Initially, I was very very intimidated. It’s nerve wracking playing such a beloved woman, and I, myself, am a huge fan of her. But I had to put the fandom away, and play the truth of this woman’s experience, and really get into the mind of who this woman was when she was younger, when she was much more, in many respects, open to the world and show how does someone get to that position.\u003c/p>\n\u003cp>\u003cstrong>Leder on the tax law case at the center of the movie\u003c/strong>\u003c/p>\n\u003cp>[Marty Ginsburg] brings her this case. First of all, she didn’t teach tax cases. She never even read them … He was the tax lawyer and became one of the preeminent tax attorneys in our country. So, it’s a case about a man who is a caregiver, who files for a tax deduction … and is denied the tax deduction because he is a never-married man. And in those days the law read that only a woman is in the home, and only a widower can receive this tax deduction.\u003c/p>\n\u003cp>So they used this man, Charles Moritz, to argue gender discrimination, and they won this tax case, and what it did was it overturned 178 different laws that discriminated on the basis of sex and were found unconstitutional.\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>\u003cstrong>Jones on the sexism Ginsburg faced even from her supporters, like Mel Wulf of the ACLU\u003c/strong>\u003c/p>\n\u003cp>I think he’s very much a creature of his time. He’s very representative of the sexism of those constant … patronizing comments, those dismissive remarks, the putdowns, the low expectations. Mel Wulf is not immune to that, and it just shows that Ruth was fighting on so many fronts.\u003c/p>\n\u003cp>\u003cstrong>Jones on Ginsburg’s relationship with her daughter Jane and inter-generational feminism\u003c/strong>\u003c/p>\n\u003cp>Ruth was very much at the mercy of time in many ways. You see that sort of 1950’s patriarchy at play, and she’s having to conform to that on so many levels, and she’s having to be so sophisticated in how she pushes against it, because to her the most important thing is that she wins. And then what you see with Jane is Jane doesn’t have to do that. The times have shifted enough that Jane can get angry and she can be more outspoken.\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/28dHbIR_NB4'\n title='//www.youtube.com/embed/28dHbIR_NB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Reena Advani and Victoria Whitley-Berry edited this interview for broadcast. Victoria Whitley-Berry and Petra Mayer adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">https://www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27On+The+Basis+Of+Sex%27+Follows+A+Fiery+Young+Ruth+Bader+Ginsburg&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848534/on-the-basis-of-sex-follows-a-fiery-young-ruth-bader-ginsburg",
"authors": [
"byline_arts_13848534"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_5826",
"arts_6395"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848535",
"label": "arts_137"
},
"arts_13848489": {
"type": "posts",
"id": "arts_13848489",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848489",
"score": null,
"sort": [
1547141950000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1547141950,
"format": "standard",
"title": "Ace Of Cups Gets A First Chance At An Overdue Debut",
"headTitle": "Ace Of Cups Gets A First Chance At An Overdue Debut | KQED",
"content": "\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>[contextly_sidebar id=”3Fw7KUTU4i0QBAYDCzhpGEXlArXjWYHG”]\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\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=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 774,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705026768,
"excerpt": "An all-women rock band before Fanny or The Runaways, Ace of Cups shared the same San Francisco stages as Jefferson Airplane and the Grateful Dead, but never made an album — until now.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An all-women rock band before Fanny or The Runaways, Ace of Cups shared the same San Francisco stages as Jefferson Airplane and the Grateful Dead, but never made an album — until now.",
"title": "Ace Of Cups Gets A First Chance At An Overdue Debut | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ace Of Cups Gets A First Chance At An Overdue Debut",
"datePublished": "2019-01-10T09:39:10-08:00",
"dateModified": "2024-01-11T18:32:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ace-of-cups-gets-a-first-chance-at-an-overdue-debut",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=683670180&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Wed, 09 Jan 2019 16:24:00 -0500",
"nprLastModifiedDate": "Wed, 09 Jan 2019 18:13:25 -0500",
"nprHtmlLink": "https://www.npr.org/2019/01/09/683670180/ace-of-cups-gets-a-first-chance-at-an-overdue-debut?ft=nprml&f=683670180",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/01/20190109_atc_ace_of_cups_gets_a_first_chance_at_an_overdue_debut.mp3?orgId=1&topicId=1106&d=342&p=2&story=683670180&ft=nprml&f=683670180",
"nprImageAgency": "Courtesy of the artist",
"nprAudioM3u": "http://api.npr.org/m3u/1683732156-1c0e0e.m3u?orgId=1&topicId=1106&d=342&p=2&story=683670180&ft=nprml&f=683670180",
"nprStoryId": "683670180",
"nprByline": "Allyson McCabe",
"sticky": false,
"audioTrackLength": 343,
"nprImageCredit": "Rachel Wright",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Jan 2019 18:32:00 -0500",
"path": "/arts/13848489/ace-of-cups-gets-a-first-chance-at-an-overdue-debut",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/01/20190109_atc_ace_of_cups_gets_a_first_chance_at_an_overdue_debut.mp3?orgId=1&topicId=1106&d=342&p=2&story=683670180&ft=nprml&f=683670180",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\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=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848489/ace-of-cups-gets-a-first-chance-at-an-overdue-debut",
"authors": [
"byline_arts_13848489"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_5426",
"arts_596",
"arts_1761"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848490",
"label": "arts_137"
},
"arts_13848436": {
"type": "posts",
"id": "arts_13848436",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848436",
"score": null,
"sort": [
1547067191000
]
},
"guestAuthors": [],
"slug": "kims-convenience-is-a-sitcom-about-asian-immigrants-with-depth",
"title": "'Kim's Convenience' Is A Sitcom About Asian Immigrants — With Depth",
"publishDate": 1547067191,
"format": "standard",
"headTitle": "‘Kim’s Convenience’ Is A Sitcom About Asian Immigrants — With Depth | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited the broadcast version of this story.\u003c/em>\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=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The Canadian television show, which centers on a Korean immigrant family in Toronto, is the country's first to have an all-Asian lead cast. Season 3 debuted Tuesday on the CBC. ",
"status": "publish",
"parent": 0,
"modified": 1729111992,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 34,
"wordCount": 1202
},
"headData": {
"title": "'Kim's Convenience' Is A Sitcom About Asian Immigrants — With Depth | KQED",
"description": "The Canadian television show, which centers on a Korean immigrant family in Toronto, is the country's first to have an all-Asian lead cast. Season 3 debuted Tuesday on the CBC. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Kim's Convenience' Is A Sitcom About Asian Immigrants — With Depth",
"datePublished": "2019-01-09T12:53:11-08:00",
"dateModified": "2024-10-16T13:53:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Ashley Westerman",
"nprImageAgency": "Canadian Broadcasting Corp.",
"nprStoryId": "682888290",
"nprApiLink": "http://api.npr.org/query?id=682888290&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/01/09/682888290/kim-s-convenience-is-a-sitcom-about-asian-immigrants-with-depth?ft=nprml&f=682888290",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Jan 2019 14:32:00 -0500",
"nprStoryDate": "Wed, 09 Jan 2019 05:00:00 -0500",
"nprLastModifiedDate": "Wed, 09 Jan 2019 14:32:24 -0500",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190109_me_kims_convenience_is_a_sitcom_about_asian_immigrants_with_depth.mp3?orgId=1&topicId=1138&d=232&p=3&story=682888290&ft=nprml&f=682888290",
"nprAudioM3u": "http://api.npr.org/m3u/1683501489-29e704.m3u?orgId=1&topicId=1138&d=232&p=3&story=682888290&ft=nprml&f=682888290",
"audioTrackLength": 233,
"path": "/arts/13848436/kims-convenience-is-a-sitcom-about-asian-immigrants-with-depth",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190109_me_kims_convenience_is_a_sitcom_about_asian_immigrants_with_depth.mp3?orgId=1&topicId=1138&d=232&p=3&story=682888290&ft=nprml&f=682888290",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\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>Ted Robbins edited the broadcast version of this story.\u003c/em>\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=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848436/kims-convenience-is-a-sitcom-about-asian-immigrants-with-depth",
"authors": [
"byline_arts_13848436"
],
"categories": [
"arts_22352",
"arts_75",
"arts_990"
],
"tags": [
"arts_1297",
"arts_1773",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848437",
"label": "arts_137"
},
"arts_13848416": {
"type": "posts",
"id": "arts_13848416",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848416",
"score": null,
"sort": [
1547065369000
]
},
"guestAuthors": [],
"slug": "woodstock-will-return-this-summer-for-its-50th-anniversary",
"title": "Woodstock Will Return This Summer, For Its 50th Anniversary",
"publishDate": 1547065369,
"format": "standard",
"headTitle": "Woodstock Will Return This Summer, For Its 50th Anniversary | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”7EWp1mj8i823Hkkm76z2gTB6IwN3tUtX”]\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”hDhkDBEhbwVoaPdVpgoJGIa5E5Nm3eY9″]\u003c/p>\n\u003cp>There will be three main stages at Woodstock 50, plus three festival “neighborhoods,” each of which will offer its own programming of music, comedy, spoken word, film and food.\u003c/p>\n\u003cp>In a press release published Wednesday, the organizers say they hope to call back to the spirit that animated the iconic 1969 event — during another tumultuous epoch in American history. The mission of Woodstock 50, they say, is “to unite people in a shared experience with great artists, and encourage active support of equality, inclusion and a shared sustainable future.”\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em> interview, Lang and his colleagues plan to sell about 100,000 three-day passes to the festival and they expect most attendees to camp at the festival grounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in an apparent nod to festivalgoers’ expectations in 2019, the 50th anniversary edition will offer “glamping” tents and other amenities. Such services might also help the 2019 festival distance itself from the \u003ca href=\"https://www.huffingtonpost.com/2014/07/23/woodstock-99_n_5610534.html\">dire problems\u003c/a> that plagued a 1999 edition of Woodstock — an event that ended in fires, rioting and a number of lawsuits — which, like the chaotic \u003ca href=\"https://www.nytimes.com/1994/08/15/nyregion/woodstock-94-the-overview-woodstock-music-fades-and-muddy-trek-begins.html\">1994 Woodstock festival\u003c/a>, Lang was also involved in organizing.\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=Woodstock+Will+Return+This+Summer%2C+For+Its+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Will peace, love and music be back? One of the original organizers of the iconic 1969 event is putting together a new three-day festival, which will take place in August in upstate New York.",
"status": "publish",
"parent": 0,
"modified": 1726770849,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 426
},
"headData": {
"title": "Woodstock Will Return This Summer, For Its 50th Anniversary | KQED",
"description": "Will peace, love and music be back? One of the original organizers of the iconic 1969 event is putting together a new three-day festival, which will take place in August in upstate New York.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Woodstock Will Return This Summer, For Its 50th Anniversary",
"datePublished": "2019-01-09T12:22:49-08:00",
"dateModified": "2024-09-19T11:34:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Mario Tama",
"nprByline": "Anastasia Tsioulcas",
"nprImageAgency": "Getty Images",
"nprStoryId": "683575133",
"nprApiLink": "http://api.npr.org/query?id=683575133&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary?ft=nprml&f=683575133",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Jan 2019 13:18:00 -0500",
"nprStoryDate": "Wed, 09 Jan 2019 11:55:40 -0500",
"nprLastModifiedDate": "Wed, 09 Jan 2019 13:18:26 -0500",
"path": "/arts/13848416/woodstock-will-return-this-summer-for-its-50th-anniversary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There will be three main stages at Woodstock 50, plus three festival “neighborhoods,” each of which will offer its own programming of music, comedy, spoken word, film and food.\u003c/p>\n\u003cp>In a press release published Wednesday, the organizers say they hope to call back to the spirit that animated the iconic 1969 event — during another tumultuous epoch in American history. The mission of Woodstock 50, they say, is “to unite people in a shared experience with great artists, and encourage active support of equality, inclusion and a shared sustainable future.”\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em> interview, Lang and his colleagues plan to sell about 100,000 three-day passes to the festival and they expect most attendees to camp at the festival grounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in an apparent nod to festivalgoers’ expectations in 2019, the 50th anniversary edition will offer “glamping” tents and other amenities. Such services might also help the 2019 festival distance itself from the \u003ca href=\"https://www.huffingtonpost.com/2014/07/23/woodstock-99_n_5610534.html\">dire problems\u003c/a> that plagued a 1999 edition of Woodstock — an event that ended in fires, rioting and a number of lawsuits — which, like the chaotic \u003ca href=\"https://www.nytimes.com/1994/08/15/nyregion/woodstock-94-the-overview-woodstock-music-fades-and-muddy-trek-begins.html\">1994 Woodstock festival\u003c/a>, Lang was also involved in organizing.\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=Woodstock+Will+Return+This+Summer%2C+For+Its+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848416/woodstock-will-return-this-summer-for-its-50th-anniversary",
"authors": [
"byline_arts_13848416"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596",
"arts_1761"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848432",
"label": "arts_137"
},
"arts_13848350": {
"type": "posts",
"id": "arts_13848350",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848350",
"score": null,
"sort": [
1546976285000
]
},
"guestAuthors": [],
"slug": "new-sleater-kinney-album-produced-by-st-vincent-confirmed-for-this-year",
"title": "New Sleater-Kinney Album, Produced By St. Vincent, Confirmed For This Year",
"publishDate": 1546976285,
"format": "standard",
"headTitle": "New Sleater-Kinney Album, Produced By St. Vincent, Confirmed For This Year | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has confirmed it’s releasing a new album sometime this year, produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>. Guitarist Carrie Brownstein tells NPR, “We always planned on getting back in the studio — it was just a matter of when. If there is an overarching principle to this album, it’s that the tools on which we were relying proved inadequate. So we sought new ones, both metaphorically and literally.” The as-yet-unnamed album follows 2015’s \u003cem>No Cities to Love\u003c/em>, which, at the time, was the band’s first new music after a nearly decade-long hiatus.\u003c/p>\n\u003cp>[contextly_sidebar id=”4p5810H7HxcMNKjHXgbVi18exc2SuoBx”]\u003c/p>\n\u003cp>Both St. Vincent and Sleater-Kinney initially announced the new project with posts on Facebook and Twitter that included a photo of the group in a studio. While there’s no word yet on what brought them together for the album, St. Vincent has covered Sleater-Kinney’s work and appeared on \u003cem>Portlandia.\u003c/em>\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=New+Sleater-Kinney+Album%2C+Produced+By+St.+Vincent%2C+Confirmed+For+This+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Guitarist Carrie Brownstein tells NPR, \"We always planned on getting back in the studio — it was just a matter of when.\"",
"status": "publish",
"parent": 0,
"modified": 1726704802,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 177
},
"headData": {
"title": "New Sleater-Kinney Album, Produced By St. Vincent, Confirmed For This Year | KQED",
"description": "Guitarist Carrie Brownstein tells NPR, "We always planned on getting back in the studio — it was just a matter of when."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Sleater-Kinney Album, Produced By St. Vincent, Confirmed For This Year",
"datePublished": "2019-01-08T11:38:05-08:00",
"dateModified": "2024-09-18T17:13:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jonny Cournoyer",
"nprByline": "Robin Hilton",
"nprImageAgency": "Courtesy of the artist",
"nprStoryId": "683258495",
"nprApiLink": "http://api.npr.org/query?id=683258495&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2019/01/08/683258495/new-sleater-kinney-album-produced-by-st-vincent-confirmed-for-this-year?ft=nprml&f=683258495",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 08 Jan 2019 13:17:00 -0500",
"nprStoryDate": "Tue, 08 Jan 2019 13:17:00 -0500",
"nprLastModifiedDate": "Tue, 08 Jan 2019 13:17:45 -0500",
"path": "/arts/13848350/new-sleater-kinney-album-produced-by-st-vincent-confirmed-for-this-year",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15317189/sleater-kinney\">Sleater-Kinney\u003c/a> has confirmed it’s releasing a new album sometime this year, produced by \u003ca href=\"https://www.npr.org/artists/15159199/st-vincent\">St. Vincent\u003c/a>. Guitarist Carrie Brownstein tells NPR, “We always planned on getting back in the studio — it was just a matter of when. If there is an overarching principle to this album, it’s that the tools on which we were relying proved inadequate. So we sought new ones, both metaphorically and literally.” The as-yet-unnamed album follows 2015’s \u003cem>No Cities to Love\u003c/em>, which, at the time, was the band’s first new music after a nearly decade-long hiatus.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Both St. Vincent and Sleater-Kinney initially announced the new project with posts on Facebook and Twitter that included a photo of the group in a studio. While there’s no word yet on what brought them together for the album, St. Vincent has covered Sleater-Kinney’s work and appeared on \u003cem>Portlandia.\u003c/em>\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=New+Sleater-Kinney+Album%2C+Produced+By+St.+Vincent%2C+Confirmed+For+This+Year&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/13848350/new-sleater-kinney-album-produced-by-st-vincent-confirmed-for-this-year",
"authors": [
"byline_arts_13848350"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848351",
"label": "arts_137"
},
"arts_13848338": {
"type": "posts",
"id": "arts_13848338",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848338",
"score": null,
"sort": [
1546969197000
]
},
"guestAuthors": [],
"slug": "nina-simones-lovely-precious-dream-for-black-children",
"title": "Nina Simone's 'Lovely, Precious Dream' For Black Children",
"publishDate": 1546969197,
"format": "image",
"headTitle": "Nina Simone’s ‘Lovely, Precious Dream’ For Black Children | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"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\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>[contextly_sidebar id=”Ha5svAAi8Zslyjc3JqBqXfDabF8MFrw1″]\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>[contextly_sidebar id=”DMf1ODGcpbeCNWOWhrvuSN4UqRmuD85q”]\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?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>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>[contextly_sidebar id=”UJzjaVKBf7EWvsAG4JIywoh6RlrhfnBa”]\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?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>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>[contextly_sidebar id=”8bxwzliUPiq2MOthqTcnHy39VWFV2er5″]\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\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=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "With \"To Be Young, Gifted and Black,\" Simone aimed to capture joy in black identity amid bloody civil rights struggle. The song was addressed to children, but adults caught on, too.",
"status": "publish",
"parent": 0,
"modified": 1726770852,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 32,
"wordCount": 1223
},
"headData": {
"title": "Nina Simone's 'Lovely, Precious Dream' For Black Children | KQED",
"description": "With "To Be Young, Gifted and Black," Simone aimed to capture joy in black identity amid bloody civil rights struggle. The song was addressed to children, but adults caught on, too.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nina Simone's 'Lovely, Precious Dream' For Black Children",
"datePublished": "2019-01-08T09:39:57-08:00",
"dateModified": "2024-09-19T11:34:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "David Redfern",
"nprByline": "Noel King, Walter Ray Watson",
"nprImageAgency": "Redferns/Getty Images",
"nprStoryId": "683021559",
"nprApiLink": "http://api.npr.org/query?id=683021559&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem?ft=nprml&f=683021559",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 08 Jan 2019 08:22:00 -0500",
"nprStoryDate": "Tue, 08 Jan 2019 04:57:00 -0500",
"nprLastModifiedDate": "Tue, 08 Jan 2019 08:22:54 -0500",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190108_me_nina_simones_lovely_precious_dream_for_black_children.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=423&p=3&story=683021559&ft=nprml&f=683021559",
"nprAudioM3u": "http://api.npr.org/m3u/1683144212-a94baa.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=423&p=3&story=683021559&ft=nprml&f=683021559",
"audioTrackLength": 424,
"path": "/arts/13848338/nina-simones-lovely-precious-dream-for-black-children",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190108_me_nina_simones_lovely_precious_dream_for_black_children.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=423&p=3&story=683021559&ft=nprml&f=683021559",
"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\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\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>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?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>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?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>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\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>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\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=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848338/nina-simones-lovely-precious-dream-for-black-children",
"authors": [
"byline_arts_13848338"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_5426",
"arts_3156",
"arts_2733",
"arts_2154",
"arts_596",
"arts_1072"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848339",
"label": "arts_137"
},
"arts_13848278": {
"type": "posts",
"id": "arts_13848278",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848278",
"score": null,
"sort": [
1546901957000
]
},
"guestAuthors": [],
"slug": "making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton",
"title": "Making 'Surviving R. Kelly': A Conversation With Executive Producer Dream Hampton",
"publishDate": 1546901957,
"format": "standard",
"headTitle": "Making ‘Surviving R. Kelly’: A Conversation With Executive Producer Dream Hampton | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Accusations of sex crimes and abuse have followed Kelly for 20 years. hampton's new Lifetime docuseries makes the case that fans, peers and the industry have been protecting the singer all along.",
"status": "publish",
"parent": 0,
"modified": 1782406614,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 41,
"wordCount": 2362
},
"headData": {
"title": "Making 'Surviving R. Kelly': A Conversation With Executive Producer Dream Hampton | KQED",
"description": "Accusations of sex crimes and abuse have followed Kelly for 20 years. hampton's new Lifetime docuseries makes the case that fans, peers and the industry have been protecting the singer all along.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Making 'Surviving R. Kelly': A Conversation With Executive Producer Dream Hampton",
"datePublished": "2019-01-07T14:59:17-08:00",
"dateModified": "2026-06-25T09:56:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 69,
"slug": "music",
"name": "Music"
},
"sticky": false,
"nprImageCredit": "Mike Pont",
"nprByline": "Eric Deggans",
"nprImageAgency": "Getty Images",
"nprStoryId": "681851521",
"nprApiLink": "http://api.npr.org/query?id=681851521&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/01/03/681851521/lifetimes-series-about-r-kelly-depicts-a-darker-side-to-the-singer?ft=nprml&f=681851521",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 07 Jan 2019 13:41:00 -0500",
"nprStoryDate": "Thu, 03 Jan 2019 05:15:00 -0500",
"nprLastModifiedDate": "Mon, 07 Jan 2019 13:41:04 -0500",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190103_me_lifetimes_documentary_series_about_r_kelly_depicts_a_darker_side_to_the_singer.mp3?orgId=1&topicId=1106&d=226&p=3&story=681851521&ft=nprml&f=681851521",
"nprAudioM3u": "http://api.npr.org/m3u/1681851522-1a8276.m3u?orgId=1&topicId=1106&d=226&p=3&story=681851521&ft=nprml&f=681851521",
"audioTrackLength": 227,
"path": "/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190103_me_lifetimes_documentary_series_about_r_kelly_depicts_a_darker_side_to_the_singer.mp3?orgId=1&topicId=1106&d=226&p=3&story=681851521&ft=nprml&f=681851521",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\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>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton",
"authors": [
"byline_arts_13848278"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_2798",
"arts_1962",
"arts_596",
"arts_925",
"arts_5612",
"arts_2461"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848279",
"label": "arts_137"
},
"arts_13848271": {
"type": "posts",
"id": "arts_13848271",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848271",
"score": null,
"sort": [
1546896368000
]
},
"guestAuthors": [],
"slug": "how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views",
"title": "How A Mongolian Heavy Metal Band Got Millions Of YouTube Views",
"publishDate": 1546896368,
"format": "standard",
"headTitle": "How A Mongolian Heavy Metal Band Got Millions Of YouTube Views | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\u003c/p>\n\u003cp>https://youtu.be/v4xZUr0BEfE\u003c/p>\n\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>[contextly_sidebar id=”JxRWoeCTCMYbRutfZi5Qyvdn5DJiKkPu”]\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>[contextly_sidebar id=”s8PTLJLutxF2ttSG4KdvJ7OIWfAqSLW7″]\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\u003c/em>\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=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "All it took for The Hu to have an Internet breakthrough was a dramatic video and screaming guitars — plus a horsehead fiddle and throat singing.",
"status": "publish",
"parent": 0,
"modified": 1726770856,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 27,
"wordCount": 1216
},
"headData": {
"title": "How A Mongolian Heavy Metal Band Got Millions Of YouTube Views | KQED",
"description": "All it took for The Hu to have an Internet breakthrough was a dramatic video and screaming guitars — plus a horsehead fiddle and throat singing.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How A Mongolian Heavy Metal Band Got Millions Of YouTube Views",
"datePublished": "2019-01-07T13:26:08-08:00",
"dateModified": "2024-09-19T11:34:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Katya Cengel",
"nprImageAgency": "#HUNNUROCK via YouTube/Screengrab by NPR",
"nprStoryId": "680528912",
"nprApiLink": "http://api.npr.org/query?id=680528912&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/goatsandsoda/2019/01/05/680528912/how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views?ft=nprml&f=680528912",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 05 Jan 2019 15:34:00 -0500",
"nprStoryDate": "Sat, 05 Jan 2019 07:00:20 -0500",
"nprLastModifiedDate": "Sat, 05 Jan 2019 15:34:29 -0500",
"path": "/arts/13848271/how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\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/v4xZUr0BEfE'\n title='//www.youtube.com/embed/v4xZUr0BEfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\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>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\u003c/em>\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=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848271/how-a-mongolian-heavy-metal-band-got-millions-of-youtube-views",
"authors": [
"byline_arts_13848271"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_994",
"arts_596",
"arts_905"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848272",
"label": "arts_137"
},
"arts_13848164": {
"type": "posts",
"id": "arts_13848164",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848164",
"score": null,
"sort": [
1546834134000
]
},
"guestAuthors": [],
"slug": "in-newly-found-audio-a-forgotten-civil-rights-leader-says-coming-out-was-an-absolute-necessity",
"title": "In Newly Found Audio, A Forgotten Civil Rights Leader Says Coming Out 'Was An Absolute Necessity'",
"publishDate": 1546834134,
"format": "standard",
"headTitle": "In Newly Found Audio, A Forgotten Civil Rights Leader Says Coming Out ‘Was An Absolute Necessity’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>He was an adviser to Martin Luther King Jr. and the organizer behind the 1963 March on Washington.\u003c/p>\n\u003cp>Still, Bayard Rustin’s legacy as a leading figure in the civil rights movement is little known today, even among many history buffs and within the LGBTQ community. His homosexuality cost him that visibility and was considered by some as a hindrance to the movement’s success.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682598649/682715013\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Rustin died in 1987, but his silenced voice was recently resurrected in \u003ca href=\"https://makinggayhistory.com/podcast/season-4-introduction/\">previously unaired audio\u003c/a> from an interview with the \u003cem>Washington\u003c/em> \u003cem>Blade \u003c/em>in the mid-1980s. The audio will air this week in an episode of the podcast \u003cem>Making Gay History. \u003c/em>It was discovered by Sara Burningham, the podcast’s executive producer.\u003c/p>\n\u003cp>Rustin was the target of homophobic attacks, and as he discusses in the interview, he was sidelined by other black leaders at key moments during a movement he helped steer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At a given point, there was so much pressure on Dr. King about my being gay and particularly because I would not deny it, that he set up a committee to explore whether it would be dangerous for me to continue working with him,” Rustin says to the \u003cem>Blade \u003c/em>in the interview.\u003c/p>\n\u003cp>[contextly_sidebar id=”hzLlHIbd09nh9IFBFaKCFJT2U6JpEtnn”]\u003c/p>\n\u003cp>He conceded, but as Eric Marcus, the host of \u003cem>Making Gay History,\u003c/em> tells NPR’s Michel Martin, Rustin kept working for the cause. In the face of constant setbacks and discrimination, Marcus says, Rustin’s commitment prevailed, a quality Marcus attributes to his Quaker upbringing.\u003c/p>\n\u003cp>The rare tape was provided by Rustin’s surviving partner, \u003ca href=\"https://www.npr.org/2015/06/28/418187875/long-before-same-sex-marriage-adopted-son-could-mean-life-partner\">Walter Naegle\u003c/a>, who preserved a library of backup recordings. Those recordings have helped foster a better understanding of the gay icon — one that Marcus concedes was absent from his civil rights education.\u003c/p>\n\u003cp>“I feel like I was robbed of my history as a gay person,” Marcus says. “Growing up, if I’d known known about someone like him, it would’ve been transformative.”\u003c/p>\n\u003cp>Marcus finds it inspiring that Rustin was open about his sexuality at a time when being gay was still considered dangerous. His arrest record included protesting and charges related to his homosexuality.\u003c/p>\n\u003cp>[contextly_sidebar id=”tKctfKFZvzQLhPuzb6Z3CZtS1amEO3kp”]\u003c/p>\n\u003cp>“Even though he had an arrest record because he was caught in the backseat of a car with two men in 1953 in California and then jailed for two months, he still managed to be a key figure in the black civil rights movement and organized the march on Washington,” Marcus says.\u003c/p>\n\u003cp>Despite the risks, Rustin felt it was his responsibility to be open about his sexuality. He traces that duty back to an experience he had as a black man in the 1940s Jim Crow South, when he took his place at the back of a segregated bus.\u003c/p>\n\u003cp>“As I was going by the second seat to go to the rear, a white child reached out for the ring necktie I was wearing and pulled it,” he recalled in the newly released audio. “Whereupon its mother said, ‘Don’t touch a n*****.’ ”\u003c/p>\n\u003cp>As Rustin tells it, here’s what ran through his mind in that moment after the white woman called him the slur: “If I go and sit quietly at the back of that bus now, that child, who was so innocent of race relations that it was going to play with me, will have seen so many blacks go in the back and sit down quietly that it’s going to end up saying, ‘They like it back there, I’ve never seen anybody protest against it.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”qrKTc33LyLZ3qw1ZMkYV1TZzdVpi4afP”]\u003c/p>\n\u003cp>Instead, he saw this moment as an opportunity, and an obligation, to disrupt what he saw as the inheritance of a prejudiced education in practice.\u003c/p>\n\u003cp>“I owe it to that child,” he told himself, “that it should be educated to know that blacks do not want to sit in the back, and therefore I should get arrested, letting all these white people in the bus know that I do not accept that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To Rustin, asserting his identity as an African-American went hand-in-hand with identifying as a gay man. “It occurred to me shortly after that that it was an absolute necessity for me to declare homosexuality, because if I didn’t I was a part of the prejudice,” he said. “I was aiding and abetting the prejudice that was a part of the effort to destroy me.”\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=In+Newly+Found+Audio%2C+A+Forgotten+Civil+Rights+Leader+Says+Coming+Out+%27Was+An+Absolute+Necessity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Bayard Rustin was an adviser to Martin Luther King Jr. and the organizer behind the 1963 March on Washington. And though he was gay, his legacy remains little known among many in the LGBTQ community.",
"status": "publish",
"parent": 0,
"modified": 1726770858,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 787
},
"headData": {
"title": "In Newly Found Audio, A Forgotten Civil Rights Leader Says Coming Out 'Was An Absolute Necessity' | KQED",
"description": "Bayard Rustin was an adviser to Martin Luther King Jr. and the organizer behind the 1963 March on Washington. And though he was gay, his legacy remains little known among many in the LGBTQ community.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Newly Found Audio, A Forgotten Civil Rights Leader Says Coming Out 'Was An Absolute Necessity'",
"datePublished": "2019-01-06T20:08:54-08:00",
"dateModified": "2024-09-19T11:34:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Patrick A. Burns/New York Times Co.",
"nprByline": "Emma Bowman",
"nprImageAgency": "Getty Images",
"nprStoryId": "682598649",
"nprApiLink": "http://api.npr.org/query?id=682598649&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/01/06/682598649/in-newly-found-audio-a-forgotten-civil-rights-leader-says-coming-out-was-an-abso?ft=nprml&f=682598649",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 06 Jan 2019 18:03:00 -0500",
"nprStoryDate": "Sun, 06 Jan 2019 17:17:34 -0500",
"nprLastModifiedDate": "Sun, 06 Jan 2019 18:01:39 -0500",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/01/20190106_atc_in_newly_found_audio_a_forgotten_civil_rights_leader_says_coming_out_was_an_absolute_necessity.mp3?orgId=1&topicId=1136&d=541&p=2&story=682598649&ft=nprml&f=682598649",
"nprAudioM3u": "http://api.npr.org/m3u/1682715013-cb5347.m3u?orgId=1&topicId=1136&d=541&p=2&story=682598649&ft=nprml&f=682598649",
"audioTrackLength": 541,
"path": "/arts/13848164/in-newly-found-audio-a-forgotten-civil-rights-leader-says-coming-out-was-an-absolute-necessity",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/01/20190106_atc_in_newly_found_audio_a_forgotten_civil_rights_leader_says_coming_out_was_an_absolute_necessity.mp3?orgId=1&topicId=1136&d=541&p=2&story=682598649&ft=nprml&f=682598649",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He was an adviser to Martin Luther King Jr. and the organizer behind the 1963 March on Washington.\u003c/p>\n\u003cp>Still, Bayard Rustin’s legacy as a leading figure in the civil rights movement is little known today, even among many history buffs and within the LGBTQ community. His homosexuality cost him that visibility and was considered by some as a hindrance to the movement’s success.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682598649/682715013\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Rustin died in 1987, but his silenced voice was recently resurrected in \u003ca href=\"https://makinggayhistory.com/podcast/season-4-introduction/\">previously unaired audio\u003c/a> from an interview with the \u003cem>Washington\u003c/em> \u003cem>Blade \u003c/em>in the mid-1980s. The audio will air this week in an episode of the podcast \u003cem>Making Gay History. \u003c/em>It was discovered by Sara Burningham, the podcast’s executive producer.\u003c/p>\n\u003cp>Rustin was the target of homophobic attacks, and as he discusses in the interview, he was sidelined by other black leaders at key moments during a movement he helped steer.\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>“At a given point, there was so much pressure on Dr. King about my being gay and particularly because I would not deny it, that he set up a committee to explore whether it would be dangerous for me to continue working with him,” Rustin says to the \u003cem>Blade \u003c/em>in the interview.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He conceded, but as Eric Marcus, the host of \u003cem>Making Gay History,\u003c/em> tells NPR’s Michel Martin, Rustin kept working for the cause. In the face of constant setbacks and discrimination, Marcus says, Rustin’s commitment prevailed, a quality Marcus attributes to his Quaker upbringing.\u003c/p>\n\u003cp>The rare tape was provided by Rustin’s surviving partner, \u003ca href=\"https://www.npr.org/2015/06/28/418187875/long-before-same-sex-marriage-adopted-son-could-mean-life-partner\">Walter Naegle\u003c/a>, who preserved a library of backup recordings. Those recordings have helped foster a better understanding of the gay icon — one that Marcus concedes was absent from his civil rights education.\u003c/p>\n\u003cp>“I feel like I was robbed of my history as a gay person,” Marcus says. “Growing up, if I’d known known about someone like him, it would’ve been transformative.”\u003c/p>\n\u003cp>Marcus finds it inspiring that Rustin was open about his sexuality at a time when being gay was still considered dangerous. His arrest record included protesting and charges related to his homosexuality.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Even though he had an arrest record because he was caught in the backseat of a car with two men in 1953 in California and then jailed for two months, he still managed to be a key figure in the black civil rights movement and organized the march on Washington,” Marcus says.\u003c/p>\n\u003cp>Despite the risks, Rustin felt it was his responsibility to be open about his sexuality. He traces that duty back to an experience he had as a black man in the 1940s Jim Crow South, when he took his place at the back of a segregated bus.\u003c/p>\n\u003cp>“As I was going by the second seat to go to the rear, a white child reached out for the ring necktie I was wearing and pulled it,” he recalled in the newly released audio. “Whereupon its mother said, ‘Don’t touch a n*****.’ ”\u003c/p>\n\u003cp>As Rustin tells it, here’s what ran through his mind in that moment after the white woman called him the slur: “If I go and sit quietly at the back of that bus now, that child, who was so innocent of race relations that it was going to play with me, will have seen so many blacks go in the back and sit down quietly that it’s going to end up saying, ‘They like it back there, I’ve never seen anybody protest against it.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Instead, he saw this moment as an opportunity, and an obligation, to disrupt what he saw as the inheritance of a prejudiced education in practice.\u003c/p>\n\u003cp>“I owe it to that child,” he told himself, “that it should be educated to know that blacks do not want to sit in the back, and therefore I should get arrested, letting all these white people in the bus know that I do not accept that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To Rustin, asserting his identity as an African-American went hand-in-hand with identifying as a gay man. “It occurred to me shortly after that that it was an absolute necessity for me to declare homosexuality, because if I didn’t I was a part of the prejudice,” he said. “I was aiding and abetting the prejudice that was a part of the effort to destroy me.”\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=In+Newly+Found+Audio%2C+A+Forgotten+Civil+Rights+Leader+Says+Coming+Out+%27Was+An+Absolute+Necessity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848164/in-newly-found-audio-a-forgotten-civil-rights-leader-says-coming-out-was-an-absolute-necessity",
"authors": [
"byline_arts_13848164"
],
"categories": [
"arts_235"
],
"tags": [
"arts_5426",
"arts_2733",
"arts_6343"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848165",
"label": "arts_137"
},
"arts_13848113": {
"type": "posts",
"id": "arts_13848113",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848113",
"score": null,
"sort": [
1546636233000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1546636233,
"format": "standard",
"title": "Lizzo Serves Up Some Fresh-Pressed, '80s-Inspired 'Juice'",
"headTitle": "Lizzo Serves Up Some Fresh-Pressed, ’80s-Inspired ‘Juice’ | KQED",
"content": "\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\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=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 264,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705026795,
"excerpt": "In her latest video, Lizzo takes cues from assorted bits of nostalgia — Jane Fonda workout tapes, 'Coming to America,' QVC infomercials — and shades them with her singular, life-affirming zeal.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In her latest video, Lizzo takes cues from assorted bits of nostalgia — Jane Fonda workout tapes, 'Coming to America,' QVC infomercials — and shades them with her singular, life-affirming zeal.",
"title": "Lizzo Serves Up Some Fresh-Pressed, '80s-Inspired 'Juice' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lizzo Serves Up Some Fresh-Pressed, '80s-Inspired 'Juice'",
"datePublished": "2019-01-04T13:10:33-08:00",
"dateModified": "2024-01-11T18:33:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lizzo-serves-up-some-fresh-pressed-80s-inspired-juice",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=682247249&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Joshua Bote",
"nprStoryDate": "Fri, 04 Jan 2019 14:35:46 -0500",
"nprLastModifiedDate": "Fri, 04 Jan 2019 14:35:46 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/01/04/682247249/lizzo-serves-up-some-fresh-pressed-80s-inspired-juice?ft=nprml&f=682247249",
"nprImageAgency": "Courtesy of the artist",
"nprStoryId": "682247249",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 04 Jan 2019 14:35:00 -0500",
"path": "/arts/13848113/lizzo-serves-up-some-fresh-pressed-80s-inspired-juice",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\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=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&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/13848113/lizzo-serves-up-some-fresh-pressed-80s-inspired-juice",
"authors": [
"byline_arts_13848113"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_6341",
"arts_2968",
"arts_6340",
"arts_925",
"arts_6012"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848114",
"label": "arts_137"
},
"arts_13848052": {
"type": "posts",
"id": "arts_13848052",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13848052",
"score": null,
"sort": [
1546610404000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1546610404,
"format": "standard",
"title": "'Escape Room' Serves Up Bloodless Thrills And Pallid Puzzles",
"headTitle": "‘Escape Room’ Serves Up Bloodless Thrills And Pallid Puzzles | KQED",
"content": "\u003cp>In the early-to-mid 2000s, mainstream horror was dominated by series like \u003cem>Saw\u003c/em>, \u003cem>Hostel\u003c/em>, and \u003cem>Final Destination\u003c/em>, each telling stories of torture and mechanized death that mostly repulsed critics, but reflected the darkening mood of the country more than other studio films dared. Look past their can-you-top-this grisliness and they tap into the common fear that young people have no control over their own destiny, that they’ve given themselves over to some faceless, malevolent force that’s really pulling the strings. When the haunted-house cycle eventually took over, starting with \u003cem>Paranormal Activity\u003c/em>, at least there was the possibility of expelling demons from your life. But for a few years, audiences were freaked out by their own sense of powerlessness. \u003c/p>\n\u003cp>\u003cem>Escape Room\u003c/em> is a throwback without the bite, a bloodless PG-13 thriller that recalls the mechanized horror trend while sanding off its serrated edges. Blowing up the brainteaser video games like \u003cem>Myst\u003c/em> and real-life escape games, the film has new fears to evoke — like surveillance and the corporate plundering of our most personal secrets — but it’s mostly about picking off the players one by one. It imagines the world as a high-tech death trap and dutifully sets about thinning the herd. \u003c/p>\n\u003cp>https://youtu.be/6dSKUoV0SNI\u003c/p>\n\u003cp>Taking a page or two — or most of the script, really — from David Fincher’s \u003cem>The Game\u003c/em>, \u003cem>Escape Room\u003c/em> invites six strangers to an immersive adventure conducted by a mysterious company with seemingly limitless resources. And as with Michael Douglas’ hero in the Fincher film, the game is offered as a gift to relieve them from the stress that dominates their lives. If any of them make it through the maze successfully, they win a cool $10,000, but just the experience itself stands to be a benefit to people who are anxious to get out of their heads for a few hours. Who are they to question an Escheresque box of dubious origin? \u003c/p>\n\u003cp>Leading a neo-\u003cem>Breakfast Club\u003c/em> of flavorless stereotypes — a slick businessman (Jay Ellis), a war veteran (Deborah Ann Woll), a coal miner (Tyler Labine), a mega-nerd (Nik Dodani), and a wage drone (Logan Miller) — Taylor Russell stars as Zoey, a shy college student who geeks out over scientific theory, but mostly keeps to herself. Her professor encourages her to take some chances and do something uncomfortable over Thanksgiving break and she obliges by accepting the escape room invitation. When she and the others gather together in the waiting room, they quickly discover that they’re not only already in the game, but they’re playing for life-or-death stakes. Those hidden codes and keys will not merely advance them to the next challenge, but prevent them from, say, succumbing to hypothermia or dropping through a collapsed floor or getting burned alive. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s the tiniest sliver of wit to Dodani’s character, an escape room savant who keeps on believing the mortal threats are part of the staging — “It’s really immersive!,” he declares — but \u003cem>Game Night\u003c/em> this isn’t. There’s a serious agenda at play here, grounded in the tediously rendered traumas that haunt each member of the group via flashback at various stages. Their personal histories have been harvested by their hosts and an experience has been tailored to their specific vulnerabilities. Call it Facebook horror. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it can be called horror at all. Director Adam Robitel, who kicked off last year’s opening weekend with \u003cem>Insidious: The Last Key\u003c/em>, tries to give each room its own visual and logistical quirks, like a bar where the ceiling is the floor or a frozen lake where the temperature keeps dropping. But they all have essentially the same flavor, with the surviving characters scrambling desperately to figure out whatever riddles and combination locks will get them to the next set of riddles and combination locks. Even at higher stakes, these puzzles are only compelling to the solvers. It’s no fun to look over their shoulders.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 693,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705026799,
"excerpt": "This flat attempt to map contemporary anxieties over the template of more grisly films like 'Saw' only \"recalls the mechanized horror trend while sanding off its serrated edges.\" ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This flat attempt to map contemporary anxieties over the template of more grisly films like 'Saw' only "recalls the mechanized horror trend while sanding off its serrated edges." ",
"title": "'Escape Room' Serves Up Bloodless Thrills And Pallid Puzzles | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Escape Room' Serves Up Bloodless Thrills And Pallid Puzzles",
"datePublished": "2019-01-04T06:00:04-08:00",
"dateModified": "2024-01-11T18:33:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "escape-room-serves-up-bloodless-thrills-and-pallid-puzzles",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=681901466&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 03 Jan 2019 17:00:37 -0500",
"nprLastModifiedDate": "Thu, 03 Jan 2019 17:00:37 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/01/03/681901466/escape-room-serves-up-bloodless-thrills-and-pallid-puzzles?ft=nprml&f=681901466",
"nprImageAgency": "Sony Pictures Entertainment",
"nprImageCredit": "David Bloomer",
"nprStoryId": "681901466",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 03 Jan 2019 17:00:00 -0500",
"path": "/arts/13848052/escape-room-serves-up-bloodless-thrills-and-pallid-puzzles",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early-to-mid 2000s, mainstream horror was dominated by series like \u003cem>Saw\u003c/em>, \u003cem>Hostel\u003c/em>, and \u003cem>Final Destination\u003c/em>, each telling stories of torture and mechanized death that mostly repulsed critics, but reflected the darkening mood of the country more than other studio films dared. Look past their can-you-top-this grisliness and they tap into the common fear that young people have no control over their own destiny, that they’ve given themselves over to some faceless, malevolent force that’s really pulling the strings. When the haunted-house cycle eventually took over, starting with \u003cem>Paranormal Activity\u003c/em>, at least there was the possibility of expelling demons from your life. But for a few years, audiences were freaked out by their own sense of powerlessness. \u003c/p>\n\u003cp>\u003cem>Escape Room\u003c/em> is a throwback without the bite, a bloodless PG-13 thriller that recalls the mechanized horror trend while sanding off its serrated edges. Blowing up the brainteaser video games like \u003cem>Myst\u003c/em> and real-life escape games, the film has new fears to evoke — like surveillance and the corporate plundering of our most personal secrets — but it’s mostly about picking off the players one by one. It imagines the world as a high-tech death trap and dutifully sets about thinning the herd. \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/6dSKUoV0SNI'\n title='//www.youtube.com/embed/6dSKUoV0SNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Taking a page or two — or most of the script, really — from David Fincher’s \u003cem>The Game\u003c/em>, \u003cem>Escape Room\u003c/em> invites six strangers to an immersive adventure conducted by a mysterious company with seemingly limitless resources. And as with Michael Douglas’ hero in the Fincher film, the game is offered as a gift to relieve them from the stress that dominates their lives. If any of them make it through the maze successfully, they win a cool $10,000, but just the experience itself stands to be a benefit to people who are anxious to get out of their heads for a few hours. Who are they to question an Escheresque box of dubious origin? \u003c/p>\n\u003cp>Leading a neo-\u003cem>Breakfast Club\u003c/em> of flavorless stereotypes — a slick businessman (Jay Ellis), a war veteran (Deborah Ann Woll), a coal miner (Tyler Labine), a mega-nerd (Nik Dodani), and a wage drone (Logan Miller) — Taylor Russell stars as Zoey, a shy college student who geeks out over scientific theory, but mostly keeps to herself. Her professor encourages her to take some chances and do something uncomfortable over Thanksgiving break and she obliges by accepting the escape room invitation. When she and the others gather together in the waiting room, they quickly discover that they’re not only already in the game, but they’re playing for life-or-death stakes. Those hidden codes and keys will not merely advance them to the next challenge, but prevent them from, say, succumbing to hypothermia or dropping through a collapsed floor or getting burned alive. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s the tiniest sliver of wit to Dodani’s character, an escape room savant who keeps on believing the mortal threats are part of the staging — “It’s really immersive!,” he declares — but \u003cem>Game Night\u003c/em> this isn’t. There’s a serious agenda at play here, grounded in the tediously rendered traumas that haunt each member of the group via flashback at various stages. Their personal histories have been harvested by their hosts and an experience has been tailored to their specific vulnerabilities. Call it Facebook horror. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it can be called horror at all. Director Adam Robitel, who kicked off last year’s opening weekend with \u003cem>Insidious: The Last Key\u003c/em>, tries to give each room its own visual and logistical quirks, like a bar where the ceiling is the floor or a frozen lake where the temperature keeps dropping. But they all have essentially the same flavor, with the surviving characters scrambling desperately to figure out whatever riddles and combination locks will get them to the next set of riddles and combination locks. Even at higher stakes, these puzzles are only compelling to the solvers. It’s no fun to look over their shoulders.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13848052/escape-room-serves-up-bloodless-thrills-and-pallid-puzzles",
"authors": [
"byline_arts_13848052"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13848053",
"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": 1536,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13848929",
"arts_13848534",
"arts_13848489",
"arts_13848436",
"arts_13848416",
"arts_13848350",
"arts_13848338",
"arts_13848278",
"arts_13848271",
"arts_13848164",
"arts_13848113",
"arts_13848052"
],
"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_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"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_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_1079": {
"type": "terms",
"id": "arts_1079",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1079",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rememberance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rememberance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1096,
"slug": "rememberance",
"isLoading": false,
"link": "/arts/tag/rememberance"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_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_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"arts_6395": {
"type": "terms",
"id": "arts_6395",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6395",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ruth bader ginsberg",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ruth bader ginsberg Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6407,
"slug": "ruth-bader-ginsberg",
"isLoading": false,
"link": "/arts/tag/ruth-bader-ginsberg"
},
"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_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_5426": {
"type": "terms",
"id": "arts_5426",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5426",
"found": true
},
"relationships": {},
"name": "1960s",
"slug": "1960s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1960s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 5438,
"isLoading": false,
"link": "/arts/tag/1960s"
},
"arts_1761": {
"type": "terms",
"id": "arts_1761",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1761",
"found": true
},
"relationships": {},
"featImg": null,
"name": "summer of love",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "summer of love Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1773,
"slug": "summer-of-love",
"isLoading": false,
"link": "/arts/tag/summer-of-love"
},
"arts_22352": {
"type": "terms",
"id": "arts_22352",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22352",
"found": true
},
"relationships": {},
"name": "Immigration",
"slug": "immigration",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Immigration | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22364,
"isLoading": false,
"link": "/arts/category/immigration"
},
"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_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_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"arts_1773": {
"type": "terms",
"id": "arts_1773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigration",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigration Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1785,
"slug": "immigration",
"isLoading": false,
"link": "/arts/tag/immigration"
},
"arts_3156": {
"type": "terms",
"id": "arts_3156",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3156",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Lives Matter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Lives Matter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3168,
"slug": "black-lives-matter",
"isLoading": false,
"link": "/arts/tag/black-lives-matter"
},
"arts_2733": {
"type": "terms",
"id": "arts_2733",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2733",
"found": true
},
"relationships": {},
"featImg": null,
"name": "civil rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "civil rights Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2745,
"slug": "civil-rights",
"isLoading": false,
"link": "/arts/tag/civil-rights"
},
"arts_2154": {
"type": "terms",
"id": "arts_2154",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2154",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Nina Simone",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Nina Simone Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2166,
"slug": "nina-simone",
"isLoading": false,
"link": "/arts/tag/nina-simone"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"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_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"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_5612": {
"type": "terms",
"id": "arts_5612",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5612",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop culture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5624,
"slug": "pop-culture",
"isLoading": false,
"link": "/arts/tag/pop-culture"
},
"arts_2461": {
"type": "terms",
"id": "arts_2461",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2461",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R. Kelly",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R. Kelly Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2473,
"slug": "r-kelly",
"isLoading": false,
"link": "/arts/tag/r-kelly"
},
"arts_994": {
"type": "terms",
"id": "arts_994",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "994",
"found": true
},
"relationships": {},
"featImg": null,
"name": "metal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "metal Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1012,
"slug": "metal",
"isLoading": false,
"link": "/arts/tag/metal"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_6343": {
"type": "terms",
"id": "arts_6343",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6343",
"found": true
},
"relationships": {},
"featImg": null,
"name": "stonewall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "stonewall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6355,
"slug": "stonewall",
"isLoading": false,
"link": "/arts/tag/stonewall"
},
"arts_6341": {
"type": "terms",
"id": "arts_6341",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6341",
"found": true
},
"relationships": {},
"featImg": null,
"name": "juice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "juice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6353,
"slug": "juice",
"isLoading": false,
"link": "/arts/tag/juice"
},
"arts_2968": {
"type": "terms",
"id": "arts_2968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lizzo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lizzo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2980,
"slug": "lizzo",
"isLoading": false,
"link": "/arts/tag/lizzo"
},
"arts_6340": {
"type": "terms",
"id": "arts_6340",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6340",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new year's",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new year's Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6352,
"slug": "new-years",
"isLoading": false,
"link": "/arts/tag/new-years"
},
"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_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"
}
},
"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
}
}
