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_13833652": {
"type": "attachments",
"id": "arts_13833652",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833652",
"found": true
},
"parent": 13833651,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d.jpg",
"width": 1625,
"height": 915
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-1200x676.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 676
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/andre-2_wide-fd18cabb1554a2200925694ad2fbde276e32182d-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527616026,
"modified": 1527616771,
"caption": "'The Gospel According to André' is the story of the iconic André Leon Talley, who grew up in the segregated South and later became the editor-at-large of 'Vogue.'",
"description": "'The Gospel According to André' is the story of the iconic André Leon Talley, who grew up in the segregated South and later became the editor-at-large of 'Vogue.'",
"title": "The Gospel According to André is the story of the iconic André Leon Talley, who grew up in the segregated South and later became the editor-at-large of Vogue.",
"credit": "Courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13834001": {
"type": "attachments",
"id": "arts_13834001",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13834001",
"found": true
},
"parent": 13834000,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-520x292.jpe",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-960x540.jpe",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-375x211.jpe",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434.jpe",
"width": 1597,
"height": 898
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-1180x664.jpe",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-1200x675.jpe",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-50x50.jpe",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-96x96.jpe",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-64x64.jpe",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-32x32.jpe",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-1180x664.jpe",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-150x150.jpe",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-128x128.jpe",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/blackthoughtthumb4_preview_wide-3078ac61eb2b9d47cbe69474974032a502cc4434-240x135.jpe",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527803864,
"modified": 1527803864,
"caption": null,
"description": "Black Thought of The Roots is ready for his close-up with the release of \u003cem>Streams Of Thought, Vol. 1.</em",
"title": "Black Thought of The Roots is ready for his close-up with the release of Streams Of Thought, Vol. 1.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833974": {
"type": "attachments",
"id": "arts_13833974",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833974",
"found": true
},
"parent": 13833973,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-904x576.jpg",
"width": 904,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a.jpg",
"width": 904,
"height": 678
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-961820978-fb988fde3e3d82861d516646b2cb2cc72558a61a-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1527791744,
"modified": 1527792305,
"caption": "The court ruled that Kesha's counterclaims were in part \"speculative, contradicted by her own allegations that she had continued performing under the agreements.\"",
"description": "The court ruled that Kesha's counterclaims were in part \"speculative, contradicted by her own allegations that she had continued performing under the agreements.\"",
"title": "The court ruled that Kesha's counterclaims were in part \"speculative, contradicted by her own allegations that she had continued performing under the agreements.\"",
"credit": "Axelle/Bauer-Griffin/FilmMagic/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833801": {
"type": "attachments",
"id": "arts_13833801",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833801",
"found": true
},
"parent": 13833800,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-e1527697505957.jpg",
"width": 1080,
"height": 607
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-955531684_wide-62f26abd5a6eacdf3b6bdbca297dd39b29eb8a05-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527697281,
"modified": 1527698197,
"caption": "Roseanne Barr has offered several explanations for her tweet attacking Valerie Jarrett — including saying that she was influenced by the sleep aid Ambien.",
"description": null,
"title": "Roseanne Barr has offered several explanations for her tweet attacking Valerie Jarrett — including saying that she was influenced by the sleep aid Ambien.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833771": {
"type": "attachments",
"id": "arts_13833771",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833771",
"found": true
},
"parent": 13833770,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-e1527642416582.jpg",
"width": 1081,
"height": 608
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-531494682_wide-20c2fc756c819eb94de758448bec6f0679b8acb4-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527642102,
"modified": 1527642454,
"caption": "Weezer fans at the Irvine Meadows Amphitheatre on May 14, 2016, in California.",
"description": null,
"title": "Weezer fans at the Irvine Meadows Amphitheatre on May 14, 2016, in California.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833692": {
"type": "attachments",
"id": "arts_13833692",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833692",
"found": true
},
"parent": 13833688,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527626785,
"modified": 1527626818,
"caption": null,
"description": "\u003cem>Enemies in Love, \u003c/em>a new book by Alexis Clark, tells the story of an unexpected romance.",
"title": "enemies_in_love_final-002-_wide-043145a38b5f1a28035cc1d321ca50ebd161b485_t800",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833536": {
"type": "attachments",
"id": "arts_13833536",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833536",
"found": true
},
"parent": 13833521,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-520x389.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 389
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-e1527279068816.jpg",
"width": 800,
"height": 599
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-800x599.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 599
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-768x575.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 575
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1527279020,
"modified": 1527279055,
"caption": "Multiple women told CNN that actor Morgan Freeman had sexually harassed or behaved inappropriately toward them. The actor is seen here on Tuesday at the 2018 PEN Literary Gala in New York City.",
"description": null,
"title": "ap_18144591492705-ce550443efad26a08c47a1f013eebbf0db49dd52-s800-c85",
"credit": "Evan Agostini/Invision/AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833508": {
"type": "attachments",
"id": "arts_13833508",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833508",
"found": true
},
"parent": 13833507,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-e1527278018333.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-962363904-398d30374c70b1685bdc1a9cfc90561a4d69119f-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1527274155,
"modified": 1527278081,
"caption": "Law enforcement officers usher a handcuffed Harvey Weinstein into the courthouse for his arraignment in Manhattan on Friday.",
"description": null,
"title": "Law enforcement officers usher a handcuffed Harvey Weinstein into the courthouse for his arraignment in Manhattan on Friday.",
"credit": "Steven Ferdman/Getty Images ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833358": {
"type": "attachments",
"id": "arts_13833358",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833358",
"found": true
},
"parent": 13833357,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/how-to-talk-to-girls-at-parties-hg_dr_111215_00346_wide-a581b8df8bb4759a24792fba372e9ff04766f482-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527119912,
"modified": 1527124416,
"caption": "You Gettin' Lucky, Punk?: Elle Fanning and Alex Sharp star in 'How to Talk to Girls At Parties,' a sweet-natured romp through 1970's London.",
"description": "You Gettin' Lucky, Punk?: Elle Fanning and Alex Sharp star in 'How to Talk to Girls At Parties,' a sweet-natured romp through 1970's London.",
"title": "You Gettin' Lucky, Punk?: Elle Fanning and Alex Sharp star in How to Talk to Girls At Parties, a sweet-natured romp through 1970's London.",
"credit": "Courtesy of A24",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833322": {
"type": "attachments",
"id": "arts_13833322",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833322",
"found": true
},
"parent": 13833321,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc.jpg",
"width": 1470,
"height": 827
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/rtr13gtc_wide-2cdcbba9ded1634ee266b9f6a692fd39482fc1bc-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527115647,
"modified": 1527116066,
"caption": "Brandi Chastain after scoring the game-winning goal in the penalty shootout in the 1999 World Cup Final.",
"description": "Brandi Chastain after scoring the game-winning goal in the penalty shootout in the 1999 World Cup Final.",
"title": "Brandi Chastain after scoring the game-winning goal in the penalty shootout in the 1999 World Cup Final.",
"credit": "Mike Blake/Reuters",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833171": {
"type": "attachments",
"id": "arts_13833171",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833171",
"found": true
},
"parent": 13833170,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-520x293.jpe",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-960x540.jpe",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-375x211.jpe",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723.jpe",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1200x675.jpe",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-50x50.jpe",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-96x96.jpe",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-64x64.jpe",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-32x32.jpe",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-150x150.jpe",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-128x128.jpe",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-240x135.jpe",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527028761,
"modified": 1527029556,
"caption": "Michael Jackson puts all of the pressure of his dance move on the Achilles tendon",
"description": "Michael Jackson puts all of the pressure of his dance move on the Achilles tendon",
"title": "Michael Jackson puts all of the pressure of his dance move on the Achilles tendon.",
"credit": "Courtesy of Manjul Tripathi",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833141": {
"type": "attachments",
"id": "arts_13833141",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833141",
"found": true
},
"parent": 13833135,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-520x389.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 389
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-375x280.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 280
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture.jpg",
"width": 800,
"height": 598
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-800x598.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 598
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-768x574.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/Love-sculpture-240x179.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 179
}
},
"publishDate": 1527019693,
"modified": 1527019788,
"caption": "A \"LOVE\" sculpture stands in London at the corner of 99 Bishopsgate – the site of the 1993 bombing by the Irish Republican Army.",
"description": "A \"LOVE\" sculpture stands in London at the corner of 99 Bishopsgate – the site of the 1993 bombing by the Irish Republican Army.",
"title": "Love sculpture",
"credit": "Mike Kemp/Corbis via Getty Images",
"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_13833651": {
"type": "authors",
"id": "byline_arts_13833651",
"meta": {
"override": true
},
"slug": "byline_arts_13833651",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_13834000": {
"type": "authors",
"id": "byline_arts_13834000",
"meta": {
"override": true
},
"slug": "byline_arts_13834000",
"name": "Rodney Carmichael",
"isLoading": false
},
"byline_arts_13833973": {
"type": "authors",
"id": "byline_arts_13833973",
"meta": {
"override": true
},
"slug": "byline_arts_13833973",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13833800": {
"type": "authors",
"id": "byline_arts_13833800",
"meta": {
"override": true
},
"slug": "byline_arts_13833800",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_13833770": {
"type": "authors",
"id": "byline_arts_13833770",
"meta": {
"override": true
},
"slug": "byline_arts_13833770",
"name": "Ann Powers",
"isLoading": false
},
"byline_arts_13833688": {
"type": "authors",
"id": "byline_arts_13833688",
"meta": {
"override": true
},
"slug": "byline_arts_13833688",
"name": "Karen Grigsby Bates",
"isLoading": false
},
"byline_arts_13833521": {
"type": "authors",
"id": "byline_arts_13833521",
"meta": {
"override": true
},
"slug": "byline_arts_13833521",
"name": "Laurel Wamsley",
"isLoading": false
},
"byline_arts_13833507": {
"type": "authors",
"id": "byline_arts_13833507",
"meta": {
"override": true
},
"slug": "byline_arts_13833507",
"name": "Colin Dwyer",
"isLoading": false
},
"byline_arts_13833357": {
"type": "authors",
"id": "byline_arts_13833357",
"meta": {
"override": true
},
"slug": "byline_arts_13833357",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_13833321": {
"type": "authors",
"id": "byline_arts_13833321",
"meta": {
"override": true
},
"slug": "byline_arts_13833321",
"name": "Laurel Wamsley",
"isLoading": false
},
"byline_arts_13833170": {
"type": "authors",
"id": "byline_arts_13833170",
"meta": {
"override": true
},
"slug": "byline_arts_13833170",
"name": "Lars Gotrich",
"isLoading": false
},
"byline_arts_13833135": {
"type": "authors",
"id": "byline_arts_13833135",
"meta": {
"override": true
},
"slug": "byline_arts_13833135",
"name": "Bill Chappell",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.2584305
},
"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": 139
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 139
}
},
{
"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_13833651": {
"type": "posts",
"id": "arts_13833651",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833651",
"score": null,
"sort": [
1527858039000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527858039,
"format": "standard",
"title": "In The Beginning, There Was Fashion: 'The Gospel According To André'",
"headTitle": "In The Beginning, There Was Fashion: ‘The Gospel According To André’ | KQED",
"content": "\u003cp>“You can be aristocratic without having been born into an aristocratic family.” This is the gospel according to André Leon Talley, who rose from a childhood in segregated Durham, North Carolina, to become a fashion maven with \u003cem>Vogue\u003c/em>, \u003cem>Women’s Wear Daily\u003c/em>, Andy Warhol’s Factory and \u003cem>America’s Next Top Model\u003c/em>. The things that made Talley an outcast in childhood (his race, his larger-than-life stature, his sexuality, his affinity for capes) were what gave him the aura of royalty once he entered the fashion world. You won’t learn many dress tips from the new documentary \u003cem>The Gospel According to André\u003c/em>, or even more than a passing glimpse of him at work, but you will get a lovely taste of Talley’s style philosophy.\u003c/p>\n\u003cp>It’s a mindset that largely sounds familiar, even to those of us who wouldn’t know a Tom Ford from a Henry Ford: Style is about embracing yourself. Talley has done that since he was a young churchgoer. Whereas many if not most high-fashion folk are reluctant to embrace spirituality unless it’s \u003ca href=\"https://www.theguardian.com/fashion/2018/feb/26/vatican-releases-rare-papal-vestments-for-met-fashion-exhibition\">ironic\u003c/a>, Talley has made his upbringing in the black church central to his life’s work. After all, as he says, Church Sunday is basically a fashion show, where everyone turns up in their finely pressed best. In the church segments, as in elsewhere in the film, you’ll find yourself wishing for just a little more insight into how Talley sees these different factors of his identity — a lot of the movie’s wisdom coasts by on simply noting that there was no one else in the fashion world who looked like him.\u003c/p>\n\u003cp>https://youtu.be/KzZkVGCY5rY\u003c/p>\n\u003cp>Director Kate Novack has an affinity for New York’s cultural institutions, having produced documentaries on \u003cem>The New York Times\u003c/em> and famed restaurant Le Cirque. For her, Talley is a gateway into the luxurious, sometimes outlandish world of Manhattan high fashion — and, it should be noted, a \u003cem>safe\u003c/em> gateway. Talley’s early apprenticeships with Andy Warhol and Diana Vreeland made him a regular at Studio 54 in the late ’70s and ’80s, but he strenuously insists that he never partook in the drugs and casual sex that characterized the scene. (The film implies this was his church upbringing paying off.) While everyone else was riding the hedonism, Talley became a sort of gentle giant cheerleader for industry pillars like Anna Wintour, Valentino and Marc Jacobs, who gush about him on camera; meanwhile, privately, he laments that he put so much effort into his work that he was never able to find happiness in a romantic partner.\u003c/p>\n\u003cp>Novack’s choice of footage favors the quirky or odd over the informative. Scenes of Talley at his estate in White Plains, watching construction workers cut down a tree, tell us little about who he is as a person. Ditto when he visits Isabella Rossellini’s pig farms; the point of the sequence is to brag that he can casually hang out with Rossellini, and laugh at her pigs, rather than to reveal anything new about Talley himself. The film dwells on stuff like this instead of more thought-provoking moments from Talley’s career, like his brief sojourn with \u003cem>Numéro Russia\u003c/em>, where he \u003ca href=\"http://wwd.com/business-news/media/andr-leon-talley-to-exit-numro-russia-7589771/\">left a lucrative editor-at-large role\u003c/a> in 2014 after he learned about Russia’s numerous anti-LGBT laws. But there is a revealing moment where Talley discusses a Saint Laurent employee who used to call him “Queen Kong,” and the shame he feels at never having told her to stop saying it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Gospel \u003c/em>also serves as a warning bell to all the other documentary filmmakers who were gathering material for a project in fall 2016 and likely found themselves capturing a lot of thoughts about the upcoming election. In the editing room emerges a new problem: Does that stuff \u003cem>matter\u003c/em>? Does a story about fashion need a fog of overconfident liberals to connect with audiences? Do we need to see Talley and a group of wealthy designer-label friends out to brunch, pre-planning the outfits for the Clinton inauguration? (Not to worry, one says in another scene: “My friend’s guru in Pakistan” has predicted a Hillary victory.)\u003c/p>\n\u003cp>Other filmmakers should give a long, hard think about whether they can get away with scenes like this, which are likely to become hallmarks of the next few years of the documentary landscape. Novack just barely pulls it off herself, for two reasons. First, most of Talley’s friends in these scenes are black, which, along with all the \u003cem>Vogue\u003c/em> covers of Michelle Obama that adorn his workstations, give a pointed snapshot of black status in 2016 America. And second, if you already knew that \u003ca href=\"https://www.teenvogue.com/story/andre-leon-talley-melania-trump-wont-dress-inauguration\">Talley once styled Melania Trump\u003c/a> for a \u003cem>Vogue \u003c/em>story, you can understand why we later see him gamely praising her inauguration wardrobe while taking in the ceremony from Maureen Dowd’s house. (“I’m going to get hate mail,” he moans.) But the film doesn’t take this opportunity to think more critically about the ways fashion functions as an emblem of social status, or how its surface-level visual pleasures can so often obscure political realities. Think about the red-carpet ceremony at this year’s Golden Globes, where the Me Too/Time’s Up movement had to institute an all-black dress code just to get anchors to focus on something other than who everyone was wearing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talley’s otherworldly guru status among his peers can at times make him seem more mascot than man. That’s why, for everything \u003cem>Gospel \u003c/em>leaves out, it’s at least nice to see a film that does for him what he’s been doing for designers and celebrities for years: Cheering him on.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1003,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705027723,
"excerpt": "Kate Novack's documentary about the legendary fashion figure breezes past any deep or thought-provoking issues, but it, like its subject, has style for days.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Kate Novack's documentary about the legendary fashion figure breezes past any deep or thought-provoking issues, but it, like its subject, has style for days.",
"title": "In The Beginning, There Was Fashion: 'The Gospel According To André' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In The Beginning, There Was Fashion: 'The Gospel According To André'",
"datePublished": "2018-06-01T06:00:39-07:00",
"dateModified": "2024-01-11T18:48:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-the-beginning-there-was-fashion-the-gospel-according-to-andre",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=613638663&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 24 May 2018 17:00:35 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 24 May 2018 17:00:35 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2018/05/24/613638663/in-the-beginning-there-was-fashion-the-gospel-according-to-andre?ft=nprml&f=613638663",
"nprImageAgency": "Magnolia Pictures ",
"nprStoryId": "613638663",
"nprByline": "Andrew Lapin",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 24 May 2018 17:00:00 -0400",
"path": "/arts/13833651/in-the-beginning-there-was-fashion-the-gospel-according-to-andre",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You can be aristocratic without having been born into an aristocratic family.” This is the gospel according to André Leon Talley, who rose from a childhood in segregated Durham, North Carolina, to become a fashion maven with \u003cem>Vogue\u003c/em>, \u003cem>Women’s Wear Daily\u003c/em>, Andy Warhol’s Factory and \u003cem>America’s Next Top Model\u003c/em>. The things that made Talley an outcast in childhood (his race, his larger-than-life stature, his sexuality, his affinity for capes) were what gave him the aura of royalty once he entered the fashion world. You won’t learn many dress tips from the new documentary \u003cem>The Gospel According to André\u003c/em>, or even more than a passing glimpse of him at work, but you will get a lovely taste of Talley’s style philosophy.\u003c/p>\n\u003cp>It’s a mindset that largely sounds familiar, even to those of us who wouldn’t know a Tom Ford from a Henry Ford: Style is about embracing yourself. Talley has done that since he was a young churchgoer. Whereas many if not most high-fashion folk are reluctant to embrace spirituality unless it’s \u003ca href=\"https://www.theguardian.com/fashion/2018/feb/26/vatican-releases-rare-papal-vestments-for-met-fashion-exhibition\">ironic\u003c/a>, Talley has made his upbringing in the black church central to his life’s work. After all, as he says, Church Sunday is basically a fashion show, where everyone turns up in their finely pressed best. In the church segments, as in elsewhere in the film, you’ll find yourself wishing for just a little more insight into how Talley sees these different factors of his identity — a lot of the movie’s wisdom coasts by on simply noting that there was no one else in the fashion world who looked like him.\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/KzZkVGCY5rY'\n title='//www.youtube.com/embed/KzZkVGCY5rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Kate Novack has an affinity for New York’s cultural institutions, having produced documentaries on \u003cem>The New York Times\u003c/em> and famed restaurant Le Cirque. For her, Talley is a gateway into the luxurious, sometimes outlandish world of Manhattan high fashion — and, it should be noted, a \u003cem>safe\u003c/em> gateway. Talley’s early apprenticeships with Andy Warhol and Diana Vreeland made him a regular at Studio 54 in the late ’70s and ’80s, but he strenuously insists that he never partook in the drugs and casual sex that characterized the scene. (The film implies this was his church upbringing paying off.) While everyone else was riding the hedonism, Talley became a sort of gentle giant cheerleader for industry pillars like Anna Wintour, Valentino and Marc Jacobs, who gush about him on camera; meanwhile, privately, he laments that he put so much effort into his work that he was never able to find happiness in a romantic partner.\u003c/p>\n\u003cp>Novack’s choice of footage favors the quirky or odd over the informative. Scenes of Talley at his estate in White Plains, watching construction workers cut down a tree, tell us little about who he is as a person. Ditto when he visits Isabella Rossellini’s pig farms; the point of the sequence is to brag that he can casually hang out with Rossellini, and laugh at her pigs, rather than to reveal anything new about Talley himself. The film dwells on stuff like this instead of more thought-provoking moments from Talley’s career, like his brief sojourn with \u003cem>Numéro Russia\u003c/em>, where he \u003ca href=\"http://wwd.com/business-news/media/andr-leon-talley-to-exit-numro-russia-7589771/\">left a lucrative editor-at-large role\u003c/a> in 2014 after he learned about Russia’s numerous anti-LGBT laws. But there is a revealing moment where Talley discusses a Saint Laurent employee who used to call him “Queen Kong,” and the shame he feels at never having told her to stop saying it.\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>Gospel \u003c/em>also serves as a warning bell to all the other documentary filmmakers who were gathering material for a project in fall 2016 and likely found themselves capturing a lot of thoughts about the upcoming election. In the editing room emerges a new problem: Does that stuff \u003cem>matter\u003c/em>? Does a story about fashion need a fog of overconfident liberals to connect with audiences? Do we need to see Talley and a group of wealthy designer-label friends out to brunch, pre-planning the outfits for the Clinton inauguration? (Not to worry, one says in another scene: “My friend’s guru in Pakistan” has predicted a Hillary victory.)\u003c/p>\n\u003cp>Other filmmakers should give a long, hard think about whether they can get away with scenes like this, which are likely to become hallmarks of the next few years of the documentary landscape. Novack just barely pulls it off herself, for two reasons. First, most of Talley’s friends in these scenes are black, which, along with all the \u003cem>Vogue\u003c/em> covers of Michelle Obama that adorn his workstations, give a pointed snapshot of black status in 2016 America. And second, if you already knew that \u003ca href=\"https://www.teenvogue.com/story/andre-leon-talley-melania-trump-wont-dress-inauguration\">Talley once styled Melania Trump\u003c/a> for a \u003cem>Vogue \u003c/em>story, you can understand why we later see him gamely praising her inauguration wardrobe while taking in the ceremony from Maureen Dowd’s house. (“I’m going to get hate mail,” he moans.) But the film doesn’t take this opportunity to think more critically about the ways fashion functions as an emblem of social status, or how its surface-level visual pleasures can so often obscure political realities. Think about the red-carpet ceremony at this year’s Golden Globes, where the Me Too/Time’s Up movement had to institute an all-black dress code just to get anchors to focus on something other than who everyone was wearing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talley’s otherworldly guru status among his peers can at times make him seem more mascot than man. That’s why, for everything \u003cem>Gospel \u003c/em>leaves out, it’s at least nice to see a film that does for him what he’s been doing for designers and celebrities for years: Cheering him on.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833651/in-the-beginning-there-was-fashion-the-gospel-according-to-andre",
"authors": [
"byline_arts_13833651"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833652",
"label": "arts_137"
},
"arts_13834000": {
"type": "posts",
"id": "arts_13834000",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13834000",
"score": null,
"sort": [
1527808007000
]
},
"guestAuthors": [],
"slug": "between-the-world-and-black-thought",
"title": "Between the World and Black Thought",
"publishDate": 1527808007,
"format": "aside",
"headTitle": "Between the World and Black Thought | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "On the eve of his first solo release, 'Streams Of Thought, Vol. 1,' The Roots' lead sheds light on his darkest inspiration and expanding vulnerability.",
"status": "publish",
"parent": 0,
"modified": 1726771103,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://www.npr.org/templates/event/embeddedVideo.php"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 32,
"wordCount": 2393
},
"headData": {
"title": "Between the World and Black Thought | KQED",
"description": "On the eve of his first solo release, 'Streams Of Thought, Vol. 1,' The Roots' lead sheds light on his darkest inspiration and expanding vulnerability.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Between the World and Black Thought",
"datePublished": "2018-05-31T16:06:47-07:00",
"dateModified": "2024-09-19T11:38:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Nickolai Hammar",
"nprByline": "Rodney Carmichael",
"nprImageAgency": "NPR",
"nprStoryId": "615752582",
"nprApiLink": "http://api.npr.org/query?id=615752582&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/05/31/615752582/black-thought-the-roots-interview?ft=nprml&f=615752582",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 31 May 2018 15:11:00 -0400",
"nprStoryDate": "Thu, 31 May 2018 12:23:00 -0400",
"nprLastModifiedDate": "Thu, 31 May 2018 15:11:17 -0400",
"path": "/arts/13834000/between-the-world-and-black-thought",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\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>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\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>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13834000/between-the-world-and-black-thought",
"authors": [
"byline_arts_13834000"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_1377"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13834001",
"label": "arts_137"
},
"arts_13833973": {
"type": "posts",
"id": "arts_13833973",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833973",
"score": null,
"sort": [
1527792420000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527792420,
"format": "standard",
"title": "Kesha Loses Appeal to Break Deals with Dr. Luke",
"headTitle": "Kesha Loses Appeal to Break Deals with Dr. Luke | KQED",
"content": "\u003cp>Singer Kesha has lost the latest round in her long-standing and acrimonious legal battle with producer Dr. Luke, which began with a suit filed in California in October 2014 accusing him of drugging and raping her.\u003c/p>\n\u003cp>On Tuesday, the New York State Supreme Court in Manhattan ruled that the singer cannot pursue a countersuit aiming to void her business contracts with Dr. Luke, born Lukasz Gottwald.\u003c/p>\n\u003cp>At every point thus far, Kesha has either lost in court or has dropped her claims. Requests for comment from the attorneys representing Kesha and Dr. Luke were not immediately returned.\u003c/p>\n\u003cp>The appeal Kesha lost this week was in response to a New York suit filed by Dr. Luke in October 2016, accusing her of \u003ca href=\"https://www.nytimes.com/2016/10/22/arts/music/kesha-dr-luke-lawsuit.html\" target=\"_blank\" rel=\"noopener\">defamation\u003c/a> and breach of contract; he asserted that her rape and abuse allegations were rooted in bitter contract renegotiations.\u003c/p>\n\u003cp>In Tuesday’s decision, the court ruled that Kesha’s appeal was “palpably insufficient and devoid of merit” and that her counterclaims were in part “speculative, contradicted by her own allegations that she had continued performing under the agreements.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dr. Luke first signed the singer in 2005, when she was 18 years old.\u003c/p>\n\u003cp>Kesha’s original suit, filed in Los Angeles County Superior Court, accused Dr. Luke of sexual assault and battery, sexual harassment, gender violence, civil harassment, unfair business, and intentional and negligent infliction of emotional distress.\u003c/p>\n\u003cp>Dr. Luke denied Kesha’s allegations and countersued the singer for defamation.\u003c/p>\n\u003cp>In February 2015, the singer (born Kesha Rose Sebert) filed an injunction, asking to be let out of her recording contract with Dr. Luke’s label, Kemosabe, a label imprint owned by Sony Music Entertainment. Four months later, she amended her injunction request, charging that SME was aware of the alleged abuse against her and also knew about other alleged victims of Dr. Luke. She also submitted a motion asking for the New York litigation to be put on pause so that her case in California could continue; Dr. Luke filed an opposing motion, which he was granted.\u003c/p>\n\u003cp>A year later, Kesha’s injunction to to be released from her Sony contract was denied. Afterwards, fans and fellow artists publicly \u003ca href=\"https://www.npr.org/2016/02/23/467819740/-freekesha-puts-a-legal-battle-in-a-public-spotlight\" target=\"_blank\" rel=\"noopener\">rallied\u003c/a> to her side, including Lady Gaga and Kelly Clarkson. Dr. Luke had also worked closely with Clarkson, producing such smashes for her as “Since U Been Gone” and “My Life Would Suck Without You.” In an interview with Australian radio station \u003ca href=\"http://www.kiis1065.com.au/entertainment/entertainment-news/kelly-clarkson-slams-dr-luke-after-kesha-rape-scandal\" target=\"_blank\" rel=\"noopener\">KIIS 1065\u003c/a>, Clarkson asserted\u003cstrong> \u003c/strong>that she had only worked with him because she had been “literally … \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-kelly-clarkson-dr-luke-demeaning-20160307-story.html\" target=\"_blank\" rel=\"noopener\">blackmailed\u003c/a>” by her label, RCA, another subsidiary of SME.\u003c/p>\n\u003cp>In April 2016, all of Kesha’s abuse claims in New York were \u003ca href=\"https://www.npr.org/2016/04/07/473416748/pop-star-kesha-loses-court-battle-against-producer-dr-luke\">dismissed\u003c/a> by Manhattan State Supreme Court Justice Shirley Werner Kornreich, who also ruled in Tuesday’s decision.\u003c/p>\n\u003cp>In August 2016, \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/style/2016/08/kesha-ties-revealed-judge-sony-music\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that Kornreich is married to Ed Kornreich, a lawyer and partner in the firm Proskauer Rose, which has represented SME. (Proskauer Rose was also \u003ca href=\"https://www.wnyc.org/story/investigation-harassment-nypr-finds/\" target=\"_blank\" rel=\"noopener\">brought in\u003c/a> by member station New York Public Radio to conduct an investigation regarding allegations of sexual harassment and inappropriate behavior; the firm \u003ca href=\"https://media.wnyc.org/media/resources/2018/Apr/24/Proskauer_Report_to_the_NYPR_Board_of_Trustees_April_2018.pdf\" target=\"_blank\" rel=\"noopener\">released\u003c/a> its findings last month.) In response, Kornreich said that her husband’s specialty within the large firm is health care and that their relationship is \u003ca href=\"https://pagesix.com/2016/12/08/judge-blasts-keshas-legal-team-for-trying-to-discredit-her/\" target=\"_blank\" rel=\"noopener\">irrelevant\u003c/a> to Kesha’s case.\u003c/p>\n\u003cp>In that 2016 decision, Kornreich \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/04/06/473284900/judge-dismisses-keshas-hate-crime-claims-against-producer-dr-luke\" target=\"_blank\" rel=\"noopener\">threw out\u003c/a> Kesha’s claims of hate crimes and human rights abuses, ruling that Dr. Luke’s alleged abuses occurred “outside New York and beyond the legal time limit,” adding that “every rape is not a gender-motivated hate crime.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In August 2016, Kesha dropped all her charges against the producer in California. In January 2017, she filed a request to amend her New York lawsuit to include claims that Dr. Luke’s companies Prescription and KMI failed to report or pay her royalties, writing: “You can get a divorce from an abusive spouse. You can dissolve a partnership if the relationship becomes irreconcilable. The same opportunity — to be liberated from the physical, emotional, and financial bondage of a destructive relationship — should be available to a recording artist.” Kornreich denied that request in March 2017. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kesha+Loses+Appeal+To+Break+Deals+With+Dr.+Luke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 727,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705027731,
"excerpt": "An appeals court in New York ruled on Tuesday that the singer, who says that the producer raped her and was abusive, cannot dissolve their business partnership through a countersuit.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An appeals court in New York ruled on Tuesday that the singer, who says that the producer raped her and was abusive, cannot dissolve their business partnership through a countersuit.",
"title": "Kesha Loses Appeal to Break Deals with Dr. Luke | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kesha Loses Appeal to Break Deals with Dr. Luke",
"datePublished": "2018-05-31T11:47:00-07:00",
"dateModified": "2024-01-11T18:48:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kesha-loses-appeal-to-break-deals-with-dr-luke",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=615433776&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Wed, 30 May 2018 14:08:00 -0400",
"nprLastModifiedDate": "Wed, 30 May 2018 16:08:07 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/05/30/615433776/kesha-loses-appeal-to-break-deals-with-dr-luke?ft=nprml&f=615433776",
"nprImageAgency": "FilmMagic/Getty Images",
"nprImageCredit": "Axelle/Bauer-Griffin",
"nprStoryId": "615433776",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 30 May 2018 16:07:00 -0400",
"path": "/arts/13833973/kesha-loses-appeal-to-break-deals-with-dr-luke",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Kesha has lost the latest round in her long-standing and acrimonious legal battle with producer Dr. Luke, which began with a suit filed in California in October 2014 accusing him of drugging and raping her.\u003c/p>\n\u003cp>On Tuesday, the New York State Supreme Court in Manhattan ruled that the singer cannot pursue a countersuit aiming to void her business contracts with Dr. Luke, born Lukasz Gottwald.\u003c/p>\n\u003cp>At every point thus far, Kesha has either lost in court or has dropped her claims. Requests for comment from the attorneys representing Kesha and Dr. Luke were not immediately returned.\u003c/p>\n\u003cp>The appeal Kesha lost this week was in response to a New York suit filed by Dr. Luke in October 2016, accusing her of \u003ca href=\"https://www.nytimes.com/2016/10/22/arts/music/kesha-dr-luke-lawsuit.html\" target=\"_blank\" rel=\"noopener\">defamation\u003c/a> and breach of contract; he asserted that her rape and abuse allegations were rooted in bitter contract renegotiations.\u003c/p>\n\u003cp>In Tuesday’s decision, the court ruled that Kesha’s appeal was “palpably insufficient and devoid of merit” and that her counterclaims were in part “speculative, contradicted by her own allegations that she had continued performing under the agreements.”\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>Dr. Luke first signed the singer in 2005, when she was 18 years old.\u003c/p>\n\u003cp>Kesha’s original suit, filed in Los Angeles County Superior Court, accused Dr. Luke of sexual assault and battery, sexual harassment, gender violence, civil harassment, unfair business, and intentional and negligent infliction of emotional distress.\u003c/p>\n\u003cp>Dr. Luke denied Kesha’s allegations and countersued the singer for defamation.\u003c/p>\n\u003cp>In February 2015, the singer (born Kesha Rose Sebert) filed an injunction, asking to be let out of her recording contract with Dr. Luke’s label, Kemosabe, a label imprint owned by Sony Music Entertainment. Four months later, she amended her injunction request, charging that SME was aware of the alleged abuse against her and also knew about other alleged victims of Dr. Luke. She also submitted a motion asking for the New York litigation to be put on pause so that her case in California could continue; Dr. Luke filed an opposing motion, which he was granted.\u003c/p>\n\u003cp>A year later, Kesha’s injunction to to be released from her Sony contract was denied. Afterwards, fans and fellow artists publicly \u003ca href=\"https://www.npr.org/2016/02/23/467819740/-freekesha-puts-a-legal-battle-in-a-public-spotlight\" target=\"_blank\" rel=\"noopener\">rallied\u003c/a> to her side, including Lady Gaga and Kelly Clarkson. Dr. Luke had also worked closely with Clarkson, producing such smashes for her as “Since U Been Gone” and “My Life Would Suck Without You.” In an interview with Australian radio station \u003ca href=\"http://www.kiis1065.com.au/entertainment/entertainment-news/kelly-clarkson-slams-dr-luke-after-kesha-rape-scandal\" target=\"_blank\" rel=\"noopener\">KIIS 1065\u003c/a>, Clarkson asserted\u003cstrong> \u003c/strong>that she had only worked with him because she had been “literally … \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-kelly-clarkson-dr-luke-demeaning-20160307-story.html\" target=\"_blank\" rel=\"noopener\">blackmailed\u003c/a>” by her label, RCA, another subsidiary of SME.\u003c/p>\n\u003cp>In April 2016, all of Kesha’s abuse claims in New York were \u003ca href=\"https://www.npr.org/2016/04/07/473416748/pop-star-kesha-loses-court-battle-against-producer-dr-luke\">dismissed\u003c/a> by Manhattan State Supreme Court Justice Shirley Werner Kornreich, who also ruled in Tuesday’s decision.\u003c/p>\n\u003cp>In August 2016, \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/style/2016/08/kesha-ties-revealed-judge-sony-music\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that Kornreich is married to Ed Kornreich, a lawyer and partner in the firm Proskauer Rose, which has represented SME. (Proskauer Rose was also \u003ca href=\"https://www.wnyc.org/story/investigation-harassment-nypr-finds/\" target=\"_blank\" rel=\"noopener\">brought in\u003c/a> by member station New York Public Radio to conduct an investigation regarding allegations of sexual harassment and inappropriate behavior; the firm \u003ca href=\"https://media.wnyc.org/media/resources/2018/Apr/24/Proskauer_Report_to_the_NYPR_Board_of_Trustees_April_2018.pdf\" target=\"_blank\" rel=\"noopener\">released\u003c/a> its findings last month.) In response, Kornreich said that her husband’s specialty within the large firm is health care and that their relationship is \u003ca href=\"https://pagesix.com/2016/12/08/judge-blasts-keshas-legal-team-for-trying-to-discredit-her/\" target=\"_blank\" rel=\"noopener\">irrelevant\u003c/a> to Kesha’s case.\u003c/p>\n\u003cp>In that 2016 decision, Kornreich \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/04/06/473284900/judge-dismisses-keshas-hate-crime-claims-against-producer-dr-luke\" target=\"_blank\" rel=\"noopener\">threw out\u003c/a> Kesha’s claims of hate crimes and human rights abuses, ruling that Dr. Luke’s alleged abuses occurred “outside New York and beyond the legal time limit,” adding that “every rape is not a gender-motivated hate crime.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In August 2016, Kesha dropped all her charges against the producer in California. In January 2017, she filed a request to amend her New York lawsuit to include claims that Dr. Luke’s companies Prescription and KMI failed to report or pay her royalties, writing: “You can get a divorce from an abusive spouse. You can dissolve a partnership if the relationship becomes irreconcilable. The same opportunity — to be liberated from the physical, emotional, and financial bondage of a destructive relationship — should be available to a recording artist.” Kornreich denied that request in March 2017. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kesha+Loses+Appeal+To+Break+Deals+With+Dr.+Luke&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833973/kesha-loses-appeal-to-break-deals-with-dr-luke",
"authors": [
"byline_arts_13833973"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833974",
"label": "arts_137"
},
"arts_13833800": {
"type": "posts",
"id": "arts_13833800",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833800",
"score": null,
"sort": [
1527697659000
]
},
"guestAuthors": [],
"slug": "roseanne-barr-says-ambien-played-role-in-racist-tweet-that-spiked-her-shows-reboot",
"title": "Roseanne Barr Says Ambien Played Role In Racist Tweet That Spiked Her Show's Reboot",
"publishDate": 1527697659,
"format": "standard",
"headTitle": "Roseanne Barr Says Ambien Played Role In Racist Tweet That Spiked Her Show’s Reboot | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cstrong>Updated at 11:40 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Actress Roseanne Barr says she was “Ambien tweeting” at 2 in the morning when she posted a racist tweet about Valerie Jarrett, a former senior adviser in the Obama White House, that caused ABC to cancel her TV show.\u003c/p>\n\u003cp>The reboot of Barr’s eponymous TV show was canceled Tuesday after one season. ABC Entertainment’s president announced the network was pulling the plug after Barr tweeted that Jarrett, who now serves on several corporate boards and is a senior fellow at the University of Chicago Law School, is the product of the “muslim brotherhood & planet of the apes.”\u003c/p>\n\u003cp>Barr said shortly before 10:30 a.m. Tuesday: “I apologize. I am now leaving Twitter.” She later sent dozens of tweets in which she apologized and offered up a number of reasons for her offensive comment.\u003c/p>\n\u003cp>“It was 2 in the morning and I was ambien tweeting — it was memorial day too — I went 2 far & do not want it defended,” Barr said in a tweet Tuesday night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She also said she believed Jarrett was Saudi or Jewish or Persian, rather than black. But when she invoked the sleep aid, her critics pounced.\u003c/p>\n\u003cp>From \u003ca href=\"https://twitter.com/eclecticbrotha/status/1001714288007045120\">Ragnorak Lobster\u003c/a>, on Twitter:\u003c/p>\n\u003cp>https://twitter.com/eclecticbrotha/status/1001714288007045120\u003c/p>\n\u003cp>“AMBIEN SIDE EFFECTS: Peddling bizarre conspiracy theories, voting for white nationalists, doing photo shoots while dressed as Hitler and tanking your career by calling black women apes. If your racism lasts longer than four hours, please see a doctor.”\u003c/p>\n\u003cp>Ambien’s manufacturer, Sanofi-Aventis, responded to the news on Wednesday, \u003ca href=\"https://twitter.com/SanofiUS/status/1001824999496404992\">saying via Twitter\u003c/a>, “While all pharmaceutical treatments have side effects, racism is not a known side effect of any Sanofi medication.”\u003c/p>\n\u003cp>https://twitter.com/SanofiUS/status/1001824999496404992\u003c/p>\n\u003cp>Listing Ambien’s actual side effects on its website, the company’s \u003ca href=\"http://products.sanofi.us/ambien/ambien.pdf\">warnings and precautions\u003c/a> for Ambien include a section on “Abnormal Thinking and Behavioral Changes” — saying the side effects can include a lack of inhibition.\u003c/p>\n\u003cp>Sanofi-Aventis also tells people to stop taking Ambien if they find themselves performing complex behaviors — like making phone calls or driving a car — without being fully awake.\u003c/p>\n\u003cp>“It can rarely be determined with certainty whether a particular instance of the abnormal behaviors listed above is drug induced, spontaneous in origin, or a result of an underlying psychiatric or physical disorder,” the company says.\u003c/p>\n\u003cp>Later, Barr denied that she was putting the blame on Ambien, saying it was “just an explanation not an excuse.”\u003c/p>\n\u003cp>On Wednesday morning, Barr replied to one critic on Twitter, “Yes, I have had odd ambien experiences on tweeting late at night-like many other ppl do. I BLAME MYSELF OK?”\u003c/p>\n\u003cp>President Trump has since chimed in on Twitter — not exactly defending Barr, but rather complaining about his own treatment. “Bob Iger of ABC called Valerie Jarrett to let her know that “ABC does not tolerate comments like those” made by Roseanne Barr,” he \u003ca href=\"https://twitter.com/realDonaldTrump/status/1001848460881035265\">wrote\u003c/a>. “Gee, he never called President Donald J. Trump to apologize for the HORRIBLE statements made and said about me on ABC. Maybe I just didn’t get the call?”\u003c/p>\n\u003cp>It’s not immediately clear what statements Trump might be referencing.\u003c/p>\n\u003cp>https://twitter.com/realDonaldTrump/status/1001848460881035265\u003c/p>\n\u003cp>With the \u003cem>Roseanne\u003c/em> show canceled, others who were involved with the project weighed in on the star’s comments — including Sara Gilbert, who had been executive producer on the reboot.\u003c/p>\n\u003cp>Gilbert said the remarks are “abhorrent and do not reflect the beliefs of our cast and crew or anyone associated with our show,” adding that she is disappointed in her longtime friend and colleague.\u003c/p>\n\u003cp>In her initial response to that tweet, Barr said, “Wow! unreal.”\u003c/p>\n\u003cp>But on Wednesday, she took a softer stance, coming to Gilbert’s defense after one of her followers sent a critical tweet.\u003c/p>\n\u003cp>“No, I understand her position and why she said what she said,” Barr said. She added that she forgives Gilbert, saying, “It just shocked me a bit, but I indeed [f*****] up.”\u003c/p>\n\u003cp>In addition to her remark about Jarrett, Barr is also being criticized over her recent attacks on both Chelsea Clinton and billionaire George Soros, who is a prominent donor to Democratic campaigns. On Monday, Barr regurgitated a rumor that Clinton had married a nephew of Soros — a rumor that was popularized by \u003ca href=\"https://www.snopes.com/fact-check/chelsea-clinton-george-soros-nephew/\">actor and Trump supporter Scott Baio\u003c/a> shortly before the 2016 presidential election.\u003c/p>\n\u003cp>Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/1001418687822385152\">replied\u003c/a> to Barr early Tuesday, “Good morning Roseanne — my given middle name is Victoria. I imagine George Soros’s nephews are lovely people. I’m just not married to one.”\u003c/p>\n\u003cp>Barr apologized but then followed it up by repeating another conspiracy theory — that Soros and his father worked with Nazis during World War II (a rumor that \u003ca href=\"https://www.snopes.com/fact-check/george-soros-ss-nazi-germany/\">has been debunked\u003c/a> and that Soros \u003ca href=\"http://thehill.com/blogs/blog-briefing-room/news/389753-soros-responds-to-roseanne-her-comments-are-an-insult-to\">denounced again yesterday\u003c/a>).\u003c/p>\n\u003cp>On Wednesday morning, Barr also invoked President Trump. \u003ca href=\"https://twitter.com/therealroseanne/status/1001761455404797953\">Barr said\u003c/a>, “i feel bad for \u003ca href=\"https://twitter.com/POTUS\">@POTUS\u003c/a>-he goes thru this every single day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the cancellation of her rebooted show, reruns of the original program, which ran for much of the 1990s, were pulled by Viacom.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roseanne+Barr+Says+Ambien+Played+Role+In+Racist+Tweet+That+Spiked+Her+Show%27s+Reboot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Critics pounced after Barr said she was \"Ambien tweeting\" at 2 in the morning. She also said she believed the target of her tweet, Valerie Jarrett, was Saudi or Jewish or Persian — rather than black.",
"status": "publish",
"parent": 0,
"modified": 1726771113,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 910
},
"headData": {
"title": "Roseanne Barr Says Ambien Played Role In Racist Tweet That Spiked Her Show's Reboot | KQED",
"description": "Critics pounced after Barr said she was "Ambien tweeting" at 2 in the morning. She also said she believed the target of her tweet, Valerie Jarrett, was Saudi or Jewish or Persian — rather than black.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Roseanne Barr Says Ambien Played Role In Racist Tweet That Spiked Her Show's Reboot",
"datePublished": "2018-05-30T09:27:39-07:00",
"dateModified": "2024-09-19T11:38:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Pacific Press",
"nprByline": "Bill Chappell",
"nprImageAgency": "LightRocket via Getty Images",
"nprStoryId": "615421269",
"nprApiLink": "http://api.npr.org/query?id=615421269&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/05/30/615421269/roseanne-barr-says-ambien-played-role-in-racist-tweet-that-spiked-her-shows-rebo?ft=nprml&f=615421269",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 30 May 2018 11:45:00 -0400",
"nprStoryDate": "Wed, 30 May 2018 09:26:00 -0400",
"nprLastModifiedDate": "Wed, 30 May 2018 11:45:49 -0400",
"path": "/arts/13833800/roseanne-barr-says-ambien-played-role-in-racist-tweet-that-spiked-her-shows-reboot",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 11:40 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Actress Roseanne Barr says she was “Ambien tweeting” at 2 in the morning when she posted a racist tweet about Valerie Jarrett, a former senior adviser in the Obama White House, that caused ABC to cancel her TV show.\u003c/p>\n\u003cp>The reboot of Barr’s eponymous TV show was canceled Tuesday after one season. ABC Entertainment’s president announced the network was pulling the plug after Barr tweeted that Jarrett, who now serves on several corporate boards and is a senior fellow at the University of Chicago Law School, is the product of the “muslim brotherhood & planet of the apes.”\u003c/p>\n\u003cp>Barr said shortly before 10:30 a.m. Tuesday: “I apologize. I am now leaving Twitter.” She later sent dozens of tweets in which she apologized and offered up a number of reasons for her offensive comment.\u003c/p>\n\u003cp>“It was 2 in the morning and I was ambien tweeting — it was memorial day too — I went 2 far & do not want it defended,” Barr said in a tweet Tuesday night.\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>She also said she believed Jarrett was Saudi or Jewish or Persian, rather than black. But when she invoked the sleep aid, her critics pounced.\u003c/p>\n\u003cp>From \u003ca href=\"https://twitter.com/eclecticbrotha/status/1001714288007045120\">Ragnorak Lobster\u003c/a>, on Twitter:\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1001714288007045120"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“AMBIEN SIDE EFFECTS: Peddling bizarre conspiracy theories, voting for white nationalists, doing photo shoots while dressed as Hitler and tanking your career by calling black women apes. If your racism lasts longer than four hours, please see a doctor.”\u003c/p>\n\u003cp>Ambien’s manufacturer, Sanofi-Aventis, responded to the news on Wednesday, \u003ca href=\"https://twitter.com/SanofiUS/status/1001824999496404992\">saying via Twitter\u003c/a>, “While all pharmaceutical treatments have side effects, racism is not a known side effect of any Sanofi medication.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1001824999496404992"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Listing Ambien’s actual side effects on its website, the company’s \u003ca href=\"http://products.sanofi.us/ambien/ambien.pdf\">warnings and precautions\u003c/a> for Ambien include a section on “Abnormal Thinking and Behavioral Changes” — saying the side effects can include a lack of inhibition.\u003c/p>\n\u003cp>Sanofi-Aventis also tells people to stop taking Ambien if they find themselves performing complex behaviors — like making phone calls or driving a car — without being fully awake.\u003c/p>\n\u003cp>“It can rarely be determined with certainty whether a particular instance of the abnormal behaviors listed above is drug induced, spontaneous in origin, or a result of an underlying psychiatric or physical disorder,” the company says.\u003c/p>\n\u003cp>Later, Barr denied that she was putting the blame on Ambien, saying it was “just an explanation not an excuse.”\u003c/p>\n\u003cp>On Wednesday morning, Barr replied to one critic on Twitter, “Yes, I have had odd ambien experiences on tweeting late at night-like many other ppl do. I BLAME MYSELF OK?”\u003c/p>\n\u003cp>President Trump has since chimed in on Twitter — not exactly defending Barr, but rather complaining about his own treatment. “Bob Iger of ABC called Valerie Jarrett to let her know that “ABC does not tolerate comments like those” made by Roseanne Barr,” he \u003ca href=\"https://twitter.com/realDonaldTrump/status/1001848460881035265\">wrote\u003c/a>. “Gee, he never called President Donald J. Trump to apologize for the HORRIBLE statements made and said about me on ABC. Maybe I just didn’t get the call?”\u003c/p>\n\u003cp>It’s not immediately clear what statements Trump might be referencing.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1001848460881035265"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>With the \u003cem>Roseanne\u003c/em> show canceled, others who were involved with the project weighed in on the star’s comments — including Sara Gilbert, who had been executive producer on the reboot.\u003c/p>\n\u003cp>Gilbert said the remarks are “abhorrent and do not reflect the beliefs of our cast and crew or anyone associated with our show,” adding that she is disappointed in her longtime friend and colleague.\u003c/p>\n\u003cp>In her initial response to that tweet, Barr said, “Wow! unreal.”\u003c/p>\n\u003cp>But on Wednesday, she took a softer stance, coming to Gilbert’s defense after one of her followers sent a critical tweet.\u003c/p>\n\u003cp>“No, I understand her position and why she said what she said,” Barr said. She added that she forgives Gilbert, saying, “It just shocked me a bit, but I indeed [f*****] up.”\u003c/p>\n\u003cp>In addition to her remark about Jarrett, Barr is also being criticized over her recent attacks on both Chelsea Clinton and billionaire George Soros, who is a prominent donor to Democratic campaigns. On Monday, Barr regurgitated a rumor that Clinton had married a nephew of Soros — a rumor that was popularized by \u003ca href=\"https://www.snopes.com/fact-check/chelsea-clinton-george-soros-nephew/\">actor and Trump supporter Scott Baio\u003c/a> shortly before the 2016 presidential election.\u003c/p>\n\u003cp>Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/1001418687822385152\">replied\u003c/a> to Barr early Tuesday, “Good morning Roseanne — my given middle name is Victoria. I imagine George Soros’s nephews are lovely people. I’m just not married to one.”\u003c/p>\n\u003cp>Barr apologized but then followed it up by repeating another conspiracy theory — that Soros and his father worked with Nazis during World War II (a rumor that \u003ca href=\"https://www.snopes.com/fact-check/george-soros-ss-nazi-germany/\">has been debunked\u003c/a> and that Soros \u003ca href=\"http://thehill.com/blogs/blog-briefing-room/news/389753-soros-responds-to-roseanne-her-comments-are-an-insult-to\">denounced again yesterday\u003c/a>).\u003c/p>\n\u003cp>On Wednesday morning, Barr also invoked President Trump. \u003ca href=\"https://twitter.com/therealroseanne/status/1001761455404797953\">Barr said\u003c/a>, “i feel bad for \u003ca href=\"https://twitter.com/POTUS\">@POTUS\u003c/a>-he goes thru this every single day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the cancellation of her rebooted show, reruns of the original program, which ran for much of the 1990s, were pulled by Viacom.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roseanne+Barr+Says+Ambien+Played+Role+In+Racist+Tweet+That+Spiked+Her+Show%27s+Reboot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833800/roseanne-barr-says-ambien-played-role-in-racist-tweet-that-spiked-her-shows-reboot",
"authors": [
"byline_arts_13833800"
],
"categories": [
"arts_235",
"arts_990"
],
"tags": [
"arts_746"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833801",
"label": "arts_137"
},
"arts_13833770": {
"type": "posts",
"id": "arts_13833770",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833770",
"score": null,
"sort": [
1527642875000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527642875,
"format": "standard",
"title": "Weezer Covers Toto's 'Africa,' Taking Us Deep Into The Internet's Heart Of Beigeness",
"headTitle": "Weezer Covers Toto’s ‘Africa,’ Taking Us Deep Into The Internet’s Heart Of Beigeness | KQED",
"content": "\u003cp>Tuesday morning, unequivocal proof finally arrived that Humpty Dumpty is the true consciousness of the Internet. Remember what the giant egg told Alice in Lewis Carroll’s children’s classic?\u003c/p>\n\u003cblockquote>\u003cp>“‘When I use a word,’ Humpty Dumpty said in a rather scornful tone, ‘It means just what I choose it to mean — neither more nor less.'”\u003c/p>\u003c/blockquote>\n\u003cp>In Humpty’s looking-glass existence, facts, logic or hierarchies of taste do not adhere. They haven’t been reversed; they’ve just — poof! — vanished. Carroll’s book gives us the Victorian version, but it’s a similar environment that produces fake news, memes fetishizing overweight cats and now … Weezer covering Toto’s “Africa.”\u003c/p>\n\u003cp>https://youtu.be/E4c7EE8_IX0\u003c/p>\n\u003cp>Why is the decision by a long-standing Southern California pop-punk band to faithfully render a hit by an even more long-standing group of ace LA studio musicians the ultimate evidence that life online has destroyed both logic and human intuition?\u003c/p>\n\u003cp>First, some backstory. Weezer, the Los Angeles-based quartet that emerged in the 1990s with bemusingly catchy hits like “Buddy Holly,” is one of a handful of pop-punk bands that, like Woody Wooderson in the movie \u003cem>Dazed and Confused,\u003c/em> keep getting older while a good chunk of their fan base stays the same age — 14. Back in December, one such kid thought it would be funny to suggest on Twitter that the band cover the soft-rock megasmash. Why? The kid herself, named Mary, didn’t know, she told a reporter who \u003ca href=\"https://noisey.vice.com/en_au/article/pazg3g/meet-the-hero-teen-determined-to-convince-weezer-to-cover-totos-africa\">tracked her down\u003c/a>, though she has probably come up with something by now, in that 14-year-old way rationalization follows impulse. (I know from teen logic — I live with a high school freshman who adores both Weezer and “Africa.”) How did she know the Toto tune? Maybe from the Netflix sci-fi sensation \u003cem>Stranger Things, \u003c/em>which featured it in a \u003ca href=\"https://www.theodysseyonline.com/offical-ranking-songs-stranger-things\">scene\u003c/a> redolent of high school sex. Or maybe, as she implied to that reporter, she just knew it. No particular reason.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, Mary did what teens do — she set up \u003ca href=\"https://twitter.com/weezerafrica\">a Twitter account\u003c/a> solely devoted to needling Weezer, her favorite band, into covering “Africa.” It was a joke, but also an attempt to make a meme, that ultimate expression of unfixed meaning, a thing people share, well, for no particular reason. Memes are funny. Not \u003cem>that\u003c/em> funny but, you know, share and they become \u003cem>more\u003c/em> funny. Early on in Mary’s campaign, Weezer drummer Patrick Wilson responded to her, and the wheels started turning. Even though she wasn’t that successful at creating a meme — her account has just south of \u003ca href=\"https://twitter.com/weezerafrica\">2,000 followers\u003c/a> — Mary did turn an idle thought into a prime directive.\u003c/p>\n\u003cp>After some time in the social media spotlight and a fake-out that arrived last week — with Weezer having covered a different \u003ca href=\"https://www.youtube.com/watch?v=J8jr-p0lQZo\">Toto song\u003c/a> — the band has finally taken the bait. It was inevitable, because Weezer’s music is as Humpty Dumpty-ish — as grounded in toppled meanings — as the Internet itself. Band leader Rivers Cuomo has spent a quarter century making idle thoughts into cash money on the pop charts: 1994’s “Undone (The Sweater Song)” is a masterwork, the post-Nirvana answer to the Beatles’ “I Am the Walrus”; and decades of subsequent hits — from “Hash Pipe” to “Beverly Hills” to “Back to the Shack” — have fed the blur of moral and perceptual confusion the band communicates. (Sometimes, as on the fetishizing “\u003ca href=\"https://www.youtube.com/watch?v=okthJIVbi6g\">El Scorcho\u003c/a>,” the moral compass has been just plain off.) Its videos, starting with the “Buddy Holly” clip in which director Spike Jonze inserted the group into footage from the television rerun fave \u003cem>Happy Days,\u003c/em> were memes before memes existed. People loved Weezer for its profligate cleverness; many hated the band for the same reason.\u003c/p>\n\u003cp>https://youtu.be/FTQbiNvZqaY\u003c/p>\n\u003cp>Toto’s reputation is, in many ways, the opposite of Weezer’s; more accurately, it stands for a different way of thinking about music altogether. Deeply scorned by hipster tastemakers for decades as a vapid cash-making machine, Toto has been redeemed in the Internet age by a new generation unencumbered by strict hierarchies of taste. And “Africa” is its signature — meme-makers slightly older than Mary established \u003ca href=\"http://ibless.therains.downin.africa/\">websites\u003c/a> and \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">bots\u003c/a> in its honor. Critics (always ready for a hot take) wrote \u003ca href=\"https://www.vice.com/en_au/article/43n95n/how-africa-by-toto-became-the-internets-favorite-song\">belated\u003c/a> appreciations of the song’s good-natured groove. All, however, must acknowledge that the song is at best free-associative, its music not at all evocative of the continent it claims to evoke, its lyrics dreamlike in that way that eating a large meal, perhaps at an Ethiopian restaurant, makes one dream. (Start anywhere: “As sure as Kilimanjaro rises like Olympus above the Serengeti,” for example, since it’s nearly impossible to see that mountain from that region.) Even those who’ve praised it must admit that “Africa” is deeply nonsensical. It’s \u003cem>another\u003c/em> version of “I Am the Walrus” — but an accidental one.\u003c/p>\n\u003cp>So Weezer covering “Africa” at the behest of a young teen makes perfect sense, right? Sure. But what larger story is furthered by this occurrence? What cog in the grand scheme is set right? This is where the phenomenon shows how Humpty Dumpty our Internet-driven thinking has become. It would be an event if an unequivocally great band covered an inarguably terrible song; if roundly worshipped punk elders Fugazi covered Jefferson Starship’s “\u003ca href=\"https://www.gq.com/story/oral-history-we-built-this-city-worst-song-of-all-time\">We Built This City\u003c/a>,” for example. That would invert taste in a tasteful way. The same thing would be accomplished in reverse if a long-scorned artist — John Mayer, who has always been critic kryptonite — covered a universally worshipped one, like Prince. Oh wait, \u003ca href=\"https://www.youtube.com/watch?v=u1ofbohKVBc\">he did\u003c/a>. Such moments keep pop hierarchies in order by logically challenging and refreshing them.\u003c/p>\n\u003cp>But Weezer covering “Africa”? Here’s a band that music aficionados are confused and divided about covering a song that \u003cem>everyone\u003c/em> is confused and divided about. Despite the hugs it has recently earned from the hive mind, “Africa” remains utterly neutral when it comes to redefining what’s “great” in pop. Unlike other critically reclaimed pop hits, it doesn’t represent a marginalized identity group, or a lost moment in history (“\u003ca href=\"http://www.yachtrock.com/\">yacht rock\u003c/a>” has been back for more than a decade), or even the most explosive moment from the group that made it. (That’s “\u003ca href=\"https://www.youtube.com/watch?v=htgr3pvBr-I\">Hold the Line\u003c/a>.” Don’t fight me.) Nor is “Africa” offensive, even as an act of cultural appropriation, since it doesn’t actually appropriate anything African. “Africa” is deeply, essentially, innocuous; designed to be background, it has never faded, nor — before now — ever truly surfaced as important. From the minute it was released, it was always just \u003cem>there\u003c/em>. Therefore, it defies reclamation.\u003c/p>\n\u003cp>Weezer is in a similar position within pop history’s hierarchies of taste. It doesn’t own the origin story of a genre even the way Nirvana did, or as Green Day does within pop-punk. It hasn’t fed its longevity with the fuel of moral integrity, as Pearl Jam has. Nobody’s nostalgic for Weezer, because Cuomo has never stopped for more than a couple of years. The controversies that do plague the band, mostly about Cuomo’s attitude toward \u003ca href=\"https://themuse.jezebel.com/thank-god-for-girls-tracking-weezer-s-brand-of-nerd-mi-1741003116\">women\u003c/a>, have become dulled by the repetition of venial sins.\u003c/p>\n\u003cp>So does the Weezer version tell us anything new about “Africa”? We don’t have a video, so there’s no knowing how Cuomo would deal with the oddly oblique references to Africanness in Toto’s rendering (the percussion parts, provided by guest Lenny Castro, that the synths overwhelm, and certain images in the original video, like a black woman model dressed in conservative American dress and the spear thrown at singer David Paich by a half-seen brown-skinned adversary). Comparing the recordings side by side, they’re very similar. Weezer’s is in a different key, has punchier drums and a bit more guitar, and a weird little keyboard solo midway. Unlike most pop-punk versions of Top 40 hits, however, this isn’t a re-imagining. Cuomo lets the song pass through him rather than making it his own.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So, let’s review. A band many people feel kind of weird about covered a song many people feel kind of weird about, pretty much note for note, and it’s a major Internet event. People like me are even writing think pieces about it. “It’s \u003cem>very\u003c/em> provoking,” as the egg told Alice. Might as well enjoy this tea party, bless the rains and wait for the Weezer/Toto collaboration that will undoubtedly come soon.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Weezer+Covers+Toto%27s+%27Africa%2C%27+Taking+Us+Deep+Into+The+Internet%27s+Heart+Of+Beigeness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1549,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705027756,
"excerpt": "At the behest of a 14-year-old fan who launched a Twitter campaign, the forever-game pop-punk faves have covered one of the Internet's favorite songs. The crossover is, somehow, pretty illuminating.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At the behest of a 14-year-old fan who launched a Twitter campaign, the forever-game pop-punk faves have covered one of the Internet's favorite songs. The crossover is, somehow, pretty illuminating.",
"title": "Weezer Covers Toto's 'Africa,' Taking Us Deep Into The Internet's Heart Of Beigeness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Weezer Covers Toto's 'Africa,' Taking Us Deep Into The Internet's Heart Of Beigeness",
"datePublished": "2018-05-29T18:14:35-07:00",
"dateModified": "2024-01-11T18:49:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "weezer-covers-totos-africa-taking-us-deep-into-the-internets-heart-of-beigeness",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=615204047&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ann Powers",
"nprStoryDate": "Tue, 29 May 2018 14:42:00 -0400",
"nprLastModifiedDate": "Tue, 29 May 2018 16:55:32 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/05/29/615204047/cracking-open-totos-beige-classic-africa-weezer-grants-the-internet-s-wish?ft=nprml&f=615204047",
"nprImageAgency": "Getty Images for CBS Radio Inc.",
"nprImageCredit": "Kevin Winter",
"nprStoryId": "615204047",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 29 May 2018 16:55:00 -0400",
"path": "/arts/13833770/weezer-covers-totos-africa-taking-us-deep-into-the-internets-heart-of-beigeness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tuesday morning, unequivocal proof finally arrived that Humpty Dumpty is the true consciousness of the Internet. Remember what the giant egg told Alice in Lewis Carroll’s children’s classic?\u003c/p>\n\u003cblockquote>\u003cp>“‘When I use a word,’ Humpty Dumpty said in a rather scornful tone, ‘It means just what I choose it to mean — neither more nor less.'”\u003c/p>\u003c/blockquote>\n\u003cp>In Humpty’s looking-glass existence, facts, logic or hierarchies of taste do not adhere. They haven’t been reversed; they’ve just — poof! — vanished. Carroll’s book gives us the Victorian version, but it’s a similar environment that produces fake news, memes fetishizing overweight cats and now … Weezer covering Toto’s “Africa.”\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/E4c7EE8_IX0'\n title='//www.youtube.com/embed/E4c7EE8_IX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Why is the decision by a long-standing Southern California pop-punk band to faithfully render a hit by an even more long-standing group of ace LA studio musicians the ultimate evidence that life online has destroyed both logic and human intuition?\u003c/p>\n\u003cp>First, some backstory. Weezer, the Los Angeles-based quartet that emerged in the 1990s with bemusingly catchy hits like “Buddy Holly,” is one of a handful of pop-punk bands that, like Woody Wooderson in the movie \u003cem>Dazed and Confused,\u003c/em> keep getting older while a good chunk of their fan base stays the same age — 14. Back in December, one such kid thought it would be funny to suggest on Twitter that the band cover the soft-rock megasmash. Why? The kid herself, named Mary, didn’t know, she told a reporter who \u003ca href=\"https://noisey.vice.com/en_au/article/pazg3g/meet-the-hero-teen-determined-to-convince-weezer-to-cover-totos-africa\">tracked her down\u003c/a>, though she has probably come up with something by now, in that 14-year-old way rationalization follows impulse. (I know from teen logic — I live with a high school freshman who adores both Weezer and “Africa.”) How did she know the Toto tune? Maybe from the Netflix sci-fi sensation \u003cem>Stranger Things, \u003c/em>which featured it in a \u003ca href=\"https://www.theodysseyonline.com/offical-ranking-songs-stranger-things\">scene\u003c/a> redolent of high school sex. Or maybe, as she implied to that reporter, she just knew it. No particular reason.\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>Anyway, Mary did what teens do — she set up \u003ca href=\"https://twitter.com/weezerafrica\">a Twitter account\u003c/a> solely devoted to needling Weezer, her favorite band, into covering “Africa.” It was a joke, but also an attempt to make a meme, that ultimate expression of unfixed meaning, a thing people share, well, for no particular reason. Memes are funny. Not \u003cem>that\u003c/em> funny but, you know, share and they become \u003cem>more\u003c/em> funny. Early on in Mary’s campaign, Weezer drummer Patrick Wilson responded to her, and the wheels started turning. Even though she wasn’t that successful at creating a meme — her account has just south of \u003ca href=\"https://twitter.com/weezerafrica\">2,000 followers\u003c/a> — Mary did turn an idle thought into a prime directive.\u003c/p>\n\u003cp>After some time in the social media spotlight and a fake-out that arrived last week — with Weezer having covered a different \u003ca href=\"https://www.youtube.com/watch?v=J8jr-p0lQZo\">Toto song\u003c/a> — the band has finally taken the bait. It was inevitable, because Weezer’s music is as Humpty Dumpty-ish — as grounded in toppled meanings — as the Internet itself. Band leader Rivers Cuomo has spent a quarter century making idle thoughts into cash money on the pop charts: 1994’s “Undone (The Sweater Song)” is a masterwork, the post-Nirvana answer to the Beatles’ “I Am the Walrus”; and decades of subsequent hits — from “Hash Pipe” to “Beverly Hills” to “Back to the Shack” — have fed the blur of moral and perceptual confusion the band communicates. (Sometimes, as on the fetishizing “\u003ca href=\"https://www.youtube.com/watch?v=okthJIVbi6g\">El Scorcho\u003c/a>,” the moral compass has been just plain off.) Its videos, starting with the “Buddy Holly” clip in which director Spike Jonze inserted the group into footage from the television rerun fave \u003cem>Happy Days,\u003c/em> were memes before memes existed. People loved Weezer for its profligate cleverness; many hated the band for the same reason.\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/FTQbiNvZqaY'\n title='//www.youtube.com/embed/FTQbiNvZqaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Toto’s reputation is, in many ways, the opposite of Weezer’s; more accurately, it stands for a different way of thinking about music altogether. Deeply scorned by hipster tastemakers for decades as a vapid cash-making machine, Toto has been redeemed in the Internet age by a new generation unencumbered by strict hierarchies of taste. And “Africa” is its signature — meme-makers slightly older than Mary established \u003ca href=\"http://ibless.therains.downin.africa/\">websites\u003c/a> and \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">bots\u003c/a> in its honor. Critics (always ready for a hot take) wrote \u003ca href=\"https://www.vice.com/en_au/article/43n95n/how-africa-by-toto-became-the-internets-favorite-song\">belated\u003c/a> appreciations of the song’s good-natured groove. All, however, must acknowledge that the song is at best free-associative, its music not at all evocative of the continent it claims to evoke, its lyrics dreamlike in that way that eating a large meal, perhaps at an Ethiopian restaurant, makes one dream. (Start anywhere: “As sure as Kilimanjaro rises like Olympus above the Serengeti,” for example, since it’s nearly impossible to see that mountain from that region.) Even those who’ve praised it must admit that “Africa” is deeply nonsensical. It’s \u003cem>another\u003c/em> version of “I Am the Walrus” — but an accidental one.\u003c/p>\n\u003cp>So Weezer covering “Africa” at the behest of a young teen makes perfect sense, right? Sure. But what larger story is furthered by this occurrence? What cog in the grand scheme is set right? This is where the phenomenon shows how Humpty Dumpty our Internet-driven thinking has become. It would be an event if an unequivocally great band covered an inarguably terrible song; if roundly worshipped punk elders Fugazi covered Jefferson Starship’s “\u003ca href=\"https://www.gq.com/story/oral-history-we-built-this-city-worst-song-of-all-time\">We Built This City\u003c/a>,” for example. That would invert taste in a tasteful way. The same thing would be accomplished in reverse if a long-scorned artist — John Mayer, who has always been critic kryptonite — covered a universally worshipped one, like Prince. Oh wait, \u003ca href=\"https://www.youtube.com/watch?v=u1ofbohKVBc\">he did\u003c/a>. Such moments keep pop hierarchies in order by logically challenging and refreshing them.\u003c/p>\n\u003cp>But Weezer covering “Africa”? Here’s a band that music aficionados are confused and divided about covering a song that \u003cem>everyone\u003c/em> is confused and divided about. Despite the hugs it has recently earned from the hive mind, “Africa” remains utterly neutral when it comes to redefining what’s “great” in pop. Unlike other critically reclaimed pop hits, it doesn’t represent a marginalized identity group, or a lost moment in history (“\u003ca href=\"http://www.yachtrock.com/\">yacht rock\u003c/a>” has been back for more than a decade), or even the most explosive moment from the group that made it. (That’s “\u003ca href=\"https://www.youtube.com/watch?v=htgr3pvBr-I\">Hold the Line\u003c/a>.” Don’t fight me.) Nor is “Africa” offensive, even as an act of cultural appropriation, since it doesn’t actually appropriate anything African. “Africa” is deeply, essentially, innocuous; designed to be background, it has never faded, nor — before now — ever truly surfaced as important. From the minute it was released, it was always just \u003cem>there\u003c/em>. Therefore, it defies reclamation.\u003c/p>\n\u003cp>Weezer is in a similar position within pop history’s hierarchies of taste. It doesn’t own the origin story of a genre even the way Nirvana did, or as Green Day does within pop-punk. It hasn’t fed its longevity with the fuel of moral integrity, as Pearl Jam has. Nobody’s nostalgic for Weezer, because Cuomo has never stopped for more than a couple of years. The controversies that do plague the band, mostly about Cuomo’s attitude toward \u003ca href=\"https://themuse.jezebel.com/thank-god-for-girls-tracking-weezer-s-brand-of-nerd-mi-1741003116\">women\u003c/a>, have become dulled by the repetition of venial sins.\u003c/p>\n\u003cp>So does the Weezer version tell us anything new about “Africa”? We don’t have a video, so there’s no knowing how Cuomo would deal with the oddly oblique references to Africanness in Toto’s rendering (the percussion parts, provided by guest Lenny Castro, that the synths overwhelm, and certain images in the original video, like a black woman model dressed in conservative American dress and the spear thrown at singer David Paich by a half-seen brown-skinned adversary). Comparing the recordings side by side, they’re very similar. Weezer’s is in a different key, has punchier drums and a bit more guitar, and a weird little keyboard solo midway. Unlike most pop-punk versions of Top 40 hits, however, this isn’t a re-imagining. Cuomo lets the song pass through him rather than making it his own.\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>So, let’s review. A band many people feel kind of weird about covered a song many people feel kind of weird about, pretty much note for note, and it’s a major Internet event. People like me are even writing think pieces about it. “It’s \u003cem>very\u003c/em> provoking,” as the egg told Alice. Might as well enjoy this tea party, bless the rains and wait for the Weezer/Toto collaboration that will undoubtedly come soon.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Weezer+Covers+Toto%27s+%27Africa%2C%27+Taking+Us+Deep+Into+The+Internet%27s+Heart+Of+Beigeness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833770/weezer-covers-totos-africa-taking-us-deep-into-the-internets-heart-of-beigeness",
"authors": [
"byline_arts_13833770"
],
"categories": [
"arts_2303",
"arts_69"
],
"tags": [
"arts_4976",
"arts_2767",
"arts_2305",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833771",
"label": "arts_137"
},
"arts_13833688": {
"type": "posts",
"id": "arts_13833688",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833688",
"score": null,
"sort": [
1527627569000
]
},
"guestAuthors": [],
"slug": "what-happens-when-two-enemies-fall-in-love",
"title": "What Happens When Two Enemies Fall In Love?",
"publishDate": 1527627569,
"format": "standard",
"headTitle": "What Happens When Two Enemies Fall In Love? | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>A love story between a black Army nurse and a white German POW during World War II? You couldn’t make that story up — and Alexis Clark didn’t. The former editor at \u003cem>Town & Country\u003c/em> is an adjunct professor at Columbia University’s School of Journalism. I spoke with her about her new book, \u003cem>Enemies in Love\u003c/em>, and what she learned about hidden Army history and the human heart.\u003c/p>\n\u003cp>Below is an edited version of our conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>What was the inspiration for this book, what got you rolling?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was really interested in the military after I found out that I was a distant relative of Colonel Charles Young. He was the highest ranking African-American in the army until his death in 1922. So I just started delving into African-Americans who served in the military. And I discovered a book called \u003ca href=\"https://www.amazon.com/G-I-Nightingales-Nurse-Corps-World/dp/0813190797\">G.I. Nightingales\u003c/a>, and it was about World War II nurses. There was a very brief chapter about black women who served in the Army Nurse Corps.\u003c/p>\n\u003cp>That’s when I first learned about Elinor Powell, and a little sentence that said she met and later married a German prisoner of war in Arizona. I was like, “Wait a minute. I need to unpack this.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Who was Elinor Powell, and where did she come from?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elinor Elizabeth Powell was from a prominent African-American family from Milton, Mass — a progressive suburb outside of Boston. Her family was one of the few black families to settle there. Her father had served in the Great War. So basically, when she joined the Army, she was going in her father’s footsteps serving her country. There weren’t really any stories of egregious racism in Milton — Elinor was largely shielded from that. She had white friends, and went to white schools, and had a great childhood. So she thought she was doing her patriotic duty enlisting to serve in the war\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What happened when she was assigned to an intake base in Arizona?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>That was at Fort Huachuca, about an hour and a half outside Tucson. And it was her first encounter with Jim Crow. The military at the time was entirely segregated, and Arizona functioned under Jim Crow. So this was her first experience seeing “Whites Only” and “Colored” signs. It was this great irony — she is serving her country, fighting a war against fascism and racism — and here she was on the receiving end by her own country! She realized that she couldn’t even get served at certain restaurants; she would be wearing her military uniform and they wouldn’t serve her. Or in some instances, they would tell her, “Well, we’ll bring you the food around back…”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>She must have been outraged. Did other black soldiers feel the same way?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When I was doing my research, I would read various letters that black soldiers wrote to the NAACP, complaining that here they are serving their military and they’re in train stations and they see German POWs use the dining rooms with American guards. But \u003cem>they\u003c/em> didn’t have access. And that was also a shock to the Germans, because in most of their cases, they hadn’t traveled to the United States and they did not encounter African-Americans at home.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So how did Elinor and her future husband, Frederick Albert, meet?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They met at a prisoner of war camp in Florence, Arizona. The closest city was Phoenix, which is about an hour and a half away. Frederick was a great cook and a baker, and so his assignment was to work in the mess hall. So when the nurses entered for their meal, he spotted Eleanor and he said it was like he was under a spell. He walked right up to her and said, “You should know my name. I’m the man who’s going to marry you.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Whoa! Just like that?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yes! And he wasn’t the only one — she felt it, too. The attraction became stronger and stronger. Eventually they had a relationship. Then the war ended, and it was obvious Frederick was going to be shipped back to Europe at some point; he couldn’t stay at Camp Florence forever\u003cem>.\u003c/em> But Frederick and Elinor had a plan. They decided that they should conceive a child, because that was going to be the easiest and quickest way for Frederick to be able to return to the United States, because he would have to support a child. And that’s exactly what happened. So before he was deported, they conceived a child. And then he returned to Germany, and she returned home to Milton, pregnant and unmarried\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I’m sure that was hugely popular with her family!\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Well, her father had died a few years before that, but her mother was very proper and she was not happy at all! She thought Elinor was being conned — that Frederick just wanted sex or a green card. But eventually he got permission to return, and they planned a small wedding.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was that the beginning of their Happily Ever After?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Not exactly. When Frederick moved to the United States to marry Elinor and then start a family together, they struggled. They moved to Boston. They tried to find apartments, find work. As a mixed couple, no one wanted to live next to them; it was hard to get a lease. It was hard for him to find employment because he was German. (Remember, this was right after the war.) And Elinor knew that he was from a wealthy family, and she feared that he would regret his decision.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So at some point, the whole family went to Germany, because they thought that would be easier?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yes. Frederick’s father had done well after the war, and Frederick was positioned to take over his father’s engineering firm. And that’s what they did\u003cem>. \u003c/em>But it was not easy on Elinor.People were pointing, taunting her when she was walking down the street. She remembers that a man dropped his groceries when he saw her and the fruit just rolled down the lane. He couldn’t believe it! She said she felt like an animal in a zoo.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>How did she fare with his family? After all, she was black and American, and this was a country where a lot of people believed in Hitler’s Master Race theory….\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>His mother was very unkind. She didn’t speak fluent English, and she showed her displeasure by screaming at Elinor in German often. Frederick would watch his mother berate his wife, but he didn’t do anything\u003cem>.\u003c/em> He was not an aggressive man. He knew Elinor was very unhappy; they realized Germany wasn’t going to work. So they returned to the United States.\u003c/p>\n\u003cp>They started off in Morton, a suburb of Philadelphia. And they couldn’t enroll their son in the school that’s in their neighborhood \u003cem>— \u003c/em>the principal suggested the colored school nearby. So Eleanor pitched a fit and approached the NAACP. At the time, she had to go ahead and put her son in school. But I did see a newspaper clip, and eventually they desegregated the school that they wanted her son to originally attend.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Did the family stay in Morton?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The family moved a lot, trying to find a place that would accept them. Finally they find a community called Village Creek, in South Norwalk, Conn. Frederick got a job at Pepperidge Farms, the baking company. And it literally was a neighborhood that said it’s a prejudice-free zone. So mixed couples, Jewish couples, artists, gays, you name it — they were welcome there.\u003c/p>\n\u003cp>And that’s where they settled\u003cem>. \u003c/em>The only thing that was difficult is that Eleanor and Frederick really didn’t bring up race with their children. So the boys had identity problems. Their older child had to undergo a lot of hardship because of their decision to be together, despite the fact that society was against them\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What did you learn from researching and writing this book?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I learned that black women served this country during World War II. And I learned about their struggles to be even \u003cem>admitted\u003c/em> into the Army Nurse Corps. With that came a strict quota, even though there were nursing shortages. Even though President Roosevelt threatened to \u003cem>draft\u003c/em> nurses in January 1944 and 1945, the Army rejected thousands of qualified black nurses! They wanted to enlist and they weren’t able to. That was another piece that I found illuminating about the role that blacks have played in the military. And then you have this ‘Love Conquers All’ story between Elinor and Frederick — twenty years before \u003cem>Loving v. Virginia\u003c/em> was decided by the Supreme Court.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Happens+When+Two+Enemies+Fall+In+Love%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A love story between a black Army nurse and a German POW during World War II? You couldn't make that story up — and Alexis Clark, author of the upcoming book, 'Enemies in Love,' didn't.",
"status": "publish",
"parent": 0,
"modified": 1726771115,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 31,
"wordCount": 1526
},
"headData": {
"title": "What Happens When Two Enemies Fall In Love? | KQED",
"description": "A love story between a black Army nurse and a German POW during World War II? You couldn't make that story up — and Alexis Clark, author of the upcoming book, 'Enemies in Love,' didn't.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Happens When Two Enemies Fall In Love?",
"datePublished": "2018-05-29T13:59:29-07:00",
"dateModified": "2024-09-19T11:38:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Karen Grigsby Bates",
"nprImageAgency": "Courtesy of the New Press",
"nprStoryId": "555619978",
"nprApiLink": "http://api.npr.org/query?id=555619978&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/codeswitch/2018/05/27/555619978/what-happens-when-two-enemies-fall-in-love?ft=nprml&f=555619978",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 27 May 2018 06:00:00 -0400",
"nprStoryDate": "Sun, 27 May 2018 06:00:06 -0400",
"nprLastModifiedDate": "Sun, 27 May 2018 06:00:06 -0400",
"path": "/arts/13833688/what-happens-when-two-enemies-fall-in-love",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A love story between a black Army nurse and a white German POW during World War II? You couldn’t make that story up — and Alexis Clark didn’t. The former editor at \u003cem>Town & Country\u003c/em> is an adjunct professor at Columbia University’s School of Journalism. I spoke with her about her new book, \u003cem>Enemies in Love\u003c/em>, and what she learned about hidden Army history and the human heart.\u003c/p>\n\u003cp>Below is an edited version of our conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>What was the inspiration for this book, what got you rolling?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was really interested in the military after I found out that I was a distant relative of Colonel Charles Young. He was the highest ranking African-American in the army until his death in 1922. So I just started delving into African-Americans who served in the military. And I discovered a book called \u003ca href=\"https://www.amazon.com/G-I-Nightingales-Nurse-Corps-World/dp/0813190797\">G.I. Nightingales\u003c/a>, and it was about World War II nurses. There was a very brief chapter about black women who served in the Army Nurse Corps.\u003c/p>\n\u003cp>That’s when I first learned about Elinor Powell, and a little sentence that said she met and later married a German prisoner of war in Arizona. I was like, “Wait a minute. I need to unpack this.”\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>\u003cem>Who was Elinor Powell, and where did she come from?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elinor Elizabeth Powell was from a prominent African-American family from Milton, Mass — a progressive suburb outside of Boston. Her family was one of the few black families to settle there. Her father had served in the Great War. So basically, when she joined the Army, she was going in her father’s footsteps serving her country. There weren’t really any stories of egregious racism in Milton — Elinor was largely shielded from that. She had white friends, and went to white schools, and had a great childhood. So she thought she was doing her patriotic duty enlisting to serve in the war\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What happened when she was assigned to an intake base in Arizona?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>That was at Fort Huachuca, about an hour and a half outside Tucson. And it was her first encounter with Jim Crow. The military at the time was entirely segregated, and Arizona functioned under Jim Crow. So this was her first experience seeing “Whites Only” and “Colored” signs. It was this great irony — she is serving her country, fighting a war against fascism and racism — and here she was on the receiving end by her own country! She realized that she couldn’t even get served at certain restaurants; she would be wearing her military uniform and they wouldn’t serve her. Or in some instances, they would tell her, “Well, we’ll bring you the food around back…”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>She must have been outraged. Did other black soldiers feel the same way?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When I was doing my research, I would read various letters that black soldiers wrote to the NAACP, complaining that here they are serving their military and they’re in train stations and they see German POWs use the dining rooms with American guards. But \u003cem>they\u003c/em> didn’t have access. And that was also a shock to the Germans, because in most of their cases, they hadn’t traveled to the United States and they did not encounter African-Americans at home.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So how did Elinor and her future husband, Frederick Albert, meet?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They met at a prisoner of war camp in Florence, Arizona. The closest city was Phoenix, which is about an hour and a half away. Frederick was a great cook and a baker, and so his assignment was to work in the mess hall. So when the nurses entered for their meal, he spotted Eleanor and he said it was like he was under a spell. He walked right up to her and said, “You should know my name. I’m the man who’s going to marry you.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Whoa! Just like that?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yes! And he wasn’t the only one — she felt it, too. The attraction became stronger and stronger. Eventually they had a relationship. Then the war ended, and it was obvious Frederick was going to be shipped back to Europe at some point; he couldn’t stay at Camp Florence forever\u003cem>.\u003c/em> But Frederick and Elinor had a plan. They decided that they should conceive a child, because that was going to be the easiest and quickest way for Frederick to be able to return to the United States, because he would have to support a child. And that’s exactly what happened. So before he was deported, they conceived a child. And then he returned to Germany, and she returned home to Milton, pregnant and unmarried\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I’m sure that was hugely popular with her family!\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Well, her father had died a few years before that, but her mother was very proper and she was not happy at all! She thought Elinor was being conned — that Frederick just wanted sex or a green card. But eventually he got permission to return, and they planned a small wedding.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was that the beginning of their Happily Ever After?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Not exactly. When Frederick moved to the United States to marry Elinor and then start a family together, they struggled. They moved to Boston. They tried to find apartments, find work. As a mixed couple, no one wanted to live next to them; it was hard to get a lease. It was hard for him to find employment because he was German. (Remember, this was right after the war.) And Elinor knew that he was from a wealthy family, and she feared that he would regret his decision.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So at some point, the whole family went to Germany, because they thought that would be easier?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yes. Frederick’s father had done well after the war, and Frederick was positioned to take over his father’s engineering firm. And that’s what they did\u003cem>. \u003c/em>But it was not easy on Elinor.People were pointing, taunting her when she was walking down the street. She remembers that a man dropped his groceries when he saw her and the fruit just rolled down the lane. He couldn’t believe it! She said she felt like an animal in a zoo.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>How did she fare with his family? After all, she was black and American, and this was a country where a lot of people believed in Hitler’s Master Race theory….\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>His mother was very unkind. She didn’t speak fluent English, and she showed her displeasure by screaming at Elinor in German often. Frederick would watch his mother berate his wife, but he didn’t do anything\u003cem>.\u003c/em> He was not an aggressive man. He knew Elinor was very unhappy; they realized Germany wasn’t going to work. So they returned to the United States.\u003c/p>\n\u003cp>They started off in Morton, a suburb of Philadelphia. And they couldn’t enroll their son in the school that’s in their neighborhood \u003cem>— \u003c/em>the principal suggested the colored school nearby. So Eleanor pitched a fit and approached the NAACP. At the time, she had to go ahead and put her son in school. But I did see a newspaper clip, and eventually they desegregated the school that they wanted her son to originally attend.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Did the family stay in Morton?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The family moved a lot, trying to find a place that would accept them. Finally they find a community called Village Creek, in South Norwalk, Conn. Frederick got a job at Pepperidge Farms, the baking company. And it literally was a neighborhood that said it’s a prejudice-free zone. So mixed couples, Jewish couples, artists, gays, you name it — they were welcome there.\u003c/p>\n\u003cp>And that’s where they settled\u003cem>. \u003c/em>The only thing that was difficult is that Eleanor and Frederick really didn’t bring up race with their children. So the boys had identity problems. Their older child had to undergo a lot of hardship because of their decision to be together, despite the fact that society was against them\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What did you learn from researching and writing this book?\u003c/em>\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 learned that black women served this country during World War II. And I learned about their struggles to be even \u003cem>admitted\u003c/em> into the Army Nurse Corps. With that came a strict quota, even though there were nursing shortages. Even though President Roosevelt threatened to \u003cem>draft\u003c/em> nurses in January 1944 and 1945, the Army rejected thousands of qualified black nurses! They wanted to enlist and they weren’t able to. That was another piece that I found illuminating about the role that blacks have played in the military. And then you have this ‘Love Conquers All’ story between Elinor and Frederick — twenty years before \u003cem>Loving v. Virginia\u003c/em> was decided by the Supreme Court.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Happens+When+Two+Enemies+Fall+In+Love%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833688/what-happens-when-two-enemies-fall-in-love",
"authors": [
"byline_arts_13833688"
],
"categories": [
"arts_73"
],
"tags": [
"arts_888",
"arts_4967",
"arts_3038"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833692",
"label": "arts_137"
},
"arts_13833521": {
"type": "posts",
"id": "arts_13833521",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833521",
"score": null,
"sort": [
1527280251000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527280251,
"format": "standard",
"title": "Women Accuse Morgan Freeman of Harassment, Inappropriate Behavior, CNN Reports",
"headTitle": "Women Accuse Morgan Freeman of Harassment, Inappropriate Behavior, CNN Reports | KQED",
"content": "\u003cp>Actor Morgan Freeman is being accused of sexually harassing and behaving inappropriately toward a number of women he has worked with, from production assistants on movies in which he has starred to employees of his production company to journalists covering the release of his films.\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/614134391/614195945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Eight people told CNN that they directly experienced harassment or inappropriate behavior by Freeman, and eight others said they had witnessed such conduct by the Oscar-winning actor. NPR has not independently confirmed the allegations.\u003c/p>\n\u003cp>One of those journalists who says Freeman made sexual comments and stared at her intently was CNN entertainment reporter Chloe Melas, one of the authors \u003ca href=\"https://www.cnn.com/2018/05/24/entertainment/morgan-freeman-accusations/index.html\">of the report on Freeman’s conduct\u003c/a> that CNN published Thursday. She said it was her experience with Freeman that drove her to find out whether he had harassed other women.\u003c/p>\n\u003cp>Melas was six months’ pregnant when she met Freeman, 80, to interview him about the release of his movie \u003cem>Going In Style\u003c/em> last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Right when I walked into the room, he began making sexually suggestive comments to me,” she said in an interview with HLN. “As an entertainment reporter for over a decade, it was unlike anything I truly have ever experienced. One of those comments was caught on tape. In this comment that’s on tape, he says to me, ‘Boy, do I wish I was there,’ while looking me up and down.”\u003c/p>\n\u003cp>Melas says Freeman’s co-stars, Alan Arkin and Michael Caine, were seated on either side of Freeman and looked at him when he made the comment. She says he made other comments to her that weren’t on tape, including, “You are ripe.”\u003c/p>\n\u003cp>Many of the complaints about Freeman in the CNN report describe his conduct \u003ca href=\"https://revfilmtv.com/\">at Revelations Entertainment\u003c/a>, the production company he co-founded with producer Lori McCreary. The company has made movies including \u003cem>Invictus\u003c/em> and \u003cem>Along Came A Spider\u003c/em> and the CBS political drama \u003cem>Madam Secretary\u003c/em>.\u003c/p>\n\u003cp>One former male employee at Revelations said that Freeman acted like a “creepy uncle” at the office and that he witnessed the actor massaging the shoulder of a clearly uncomfortable intern. “The intern got visibly red and wiggled out of his grasp, it was awkward,” he said.\u003c/p>\n\u003cp>A former production assistant on \u003cem>Going In Style\u003c/em> told CNN that she experienced unwanted touching and comments about her clothes and body almost every day from Freeman — an experience she says frequently left in her tears and led her to leave the movie business.\u003c/p>\n\u003cp>She said Freeman “kept trying to lift up my skirt and asking if I was wearing underwear.”\u003c/p>\n\u003cp>In a statement to NPR, Freeman apologized to anyone he made uncomfortable.\u003c/p>\n\u003cp>“Anyone who knows me or has worked with me knows I am not someone who would intentionally offend or knowingly make anyone feel uneasy. I apologize to anyone who felt uncomfortable or disrespected — that was never my intent.”\u003c/p>\n\u003cp>Freeman is one of America’s best-known actors, starring in 1989’s \u003cem>Driving Miss Daisy\u003c/em> and 1994’s \u003cem>The Shawshank Redemption\u003c/em>. He is known for his deep voice and often plays characters of gravitas and great moral rectitude. He portrayed Nelson Mandela in \u003cem>Invictus\u003c/em>, the president of the United States in \u003cem>Deep Impact\u003c/em> and God in \u003cem>Bruce Almighty\u003c/em>.\u003c/p>\n\u003cp>The CNN report also includes allegations involving McCreary, Freeman’s business partner — sometimes as victim, sometimes as perpetrator. \u003ca href=\"https://www.hollywoodreporter.com/news/morgan-freeman-respects-his-producing-899710\">Speaking at a conference in 2016\u003c/a>, Freeman said of McCreary, “She wants to be thought of as serious. But you can’t get away from the short dresses.”\u003c/p>\n\u003cp>The moderator asked Freeman whether his comments could be seen as sexist and misogynistic. “Sexist? Yeah,” Freeman replied, “but I’m not misogynistic.”\u003c/p>\n\u003cp>But former employees at Revelations told CNN that McCreary was part of the problem, making comments such as, “she’ll never be able to do a good job, she has a family” and mocking women who left work early for family commitments.\u003c/p>\n\u003cp>Employees reportedly formed a “survivors club” to commiserate about what they experienced at Revelations.\u003c/p>\n\u003cp>The actor’s power and stature allowed him to behave inappropriately out in the open and without consequence, according to an unnamed production assistant who worked with Freeman on \u003cem>The Dark Knight\u003c/em>.\u003c/p>\n\u003cp>“Morgan did things in a way that an older more established person can get away with because they have that power,” the woman told CNN.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They can’t be replaced, but you can be replaced very easily, that’s just kind of the dynamic on set. PAs can be replaced, grips can be replaced, electricians can be replaced, but the actors — once they’re in, they’re in. … [I]f you report somebody like Morgan Freeman that the movie would lose a lot of money by replacing them or getting them in trouble, then you’re the troublemaker and you’ll get fired because you’re just a PA.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+Accuse+Morgan+Freeman+Of+Harassment%2C+Inappropriate+Behavior%2C+CNN+Reports&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 871,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705027768,
"excerpt": "Eight people told CNN that they were victims of harassment or inappropriate behavior by Freeman, and eight others said they had witnessed such conduct by the Oscar-winning actor.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Eight people told CNN that they were victims of harassment or inappropriate behavior by Freeman, and eight others said they had witnessed such conduct by the Oscar-winning actor.",
"title": "Women Accuse Morgan Freeman of Harassment, Inappropriate Behavior, CNN Reports | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Women Accuse Morgan Freeman of Harassment, Inappropriate Behavior, CNN Reports",
"datePublished": "2018-05-25T13:30:51-07:00",
"dateModified": "2024-01-11T18:49:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "women-accuse-morgan-freeman-of-harassment-inappropriate-behavior-cnn-reports",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=614134391&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laurel Wamsley",
"nprStoryDate": "Thu, 24 May 2018 15:47:00 -0400",
"nprLastModifiedDate": "Fri, 25 May 2018 05:42:18 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/05/24/614134391/women-accuse-morgan-freeman-of-harassment-inappropriate-behavior-cnn-reports?ft=nprml&f=614134391",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/05/20180524_atc_women_accuse_morgan_freeman_of_harassment_inappropriate_behavior_cnn_reports.mp3?orgId=1&topicId=1003&d=209&p=2&story=614134391&ft=nprml&f=614134391",
"nprAudioM3u": "http://api.npr.org/m3u/1614195945-fbaef0.m3u?orgId=1&topicId=1003&d=209&p=2&story=614134391&ft=nprml&f=614134391",
"nprStoryId": "614134391",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 24 May 2018 20:06:00 -0400",
"path": "/arts/13833521/women-accuse-morgan-freeman-of-harassment-inappropriate-behavior-cnn-reports",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/05/20180524_atc_women_accuse_morgan_freeman_of_harassment_inappropriate_behavior_cnn_reports.mp3?orgId=1&topicId=1003&d=209&p=2&story=614134391&ft=nprml&f=614134391",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Morgan Freeman is being accused of sexually harassing and behaving inappropriately toward a number of women he has worked with, from production assistants on movies in which he has starred to employees of his production company to journalists covering the release of his films.\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/614134391/614195945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Eight people told CNN that they directly experienced harassment or inappropriate behavior by Freeman, and eight others said they had witnessed such conduct by the Oscar-winning actor. NPR has not independently confirmed the allegations.\u003c/p>\n\u003cp>One of those journalists who says Freeman made sexual comments and stared at her intently was CNN entertainment reporter Chloe Melas, one of the authors \u003ca href=\"https://www.cnn.com/2018/05/24/entertainment/morgan-freeman-accusations/index.html\">of the report on Freeman’s conduct\u003c/a> that CNN published Thursday. She said it was her experience with Freeman that drove her to find out whether he had harassed other women.\u003c/p>\n\u003cp>Melas was six months’ pregnant when she met Freeman, 80, to interview him about the release of his movie \u003cem>Going In Style\u003c/em> last year.\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>“Right when I walked into the room, he began making sexually suggestive comments to me,” she said in an interview with HLN. “As an entertainment reporter for over a decade, it was unlike anything I truly have ever experienced. One of those comments was caught on tape. In this comment that’s on tape, he says to me, ‘Boy, do I wish I was there,’ while looking me up and down.”\u003c/p>\n\u003cp>Melas says Freeman’s co-stars, Alan Arkin and Michael Caine, were seated on either side of Freeman and looked at him when he made the comment. She says he made other comments to her that weren’t on tape, including, “You are ripe.”\u003c/p>\n\u003cp>Many of the complaints about Freeman in the CNN report describe his conduct \u003ca href=\"https://revfilmtv.com/\">at Revelations Entertainment\u003c/a>, the production company he co-founded with producer Lori McCreary. The company has made movies including \u003cem>Invictus\u003c/em> and \u003cem>Along Came A Spider\u003c/em> and the CBS political drama \u003cem>Madam Secretary\u003c/em>.\u003c/p>\n\u003cp>One former male employee at Revelations said that Freeman acted like a “creepy uncle” at the office and that he witnessed the actor massaging the shoulder of a clearly uncomfortable intern. “The intern got visibly red and wiggled out of his grasp, it was awkward,” he said.\u003c/p>\n\u003cp>A former production assistant on \u003cem>Going In Style\u003c/em> told CNN that she experienced unwanted touching and comments about her clothes and body almost every day from Freeman — an experience she says frequently left in her tears and led her to leave the movie business.\u003c/p>\n\u003cp>She said Freeman “kept trying to lift up my skirt and asking if I was wearing underwear.”\u003c/p>\n\u003cp>In a statement to NPR, Freeman apologized to anyone he made uncomfortable.\u003c/p>\n\u003cp>“Anyone who knows me or has worked with me knows I am not someone who would intentionally offend or knowingly make anyone feel uneasy. I apologize to anyone who felt uncomfortable or disrespected — that was never my intent.”\u003c/p>\n\u003cp>Freeman is one of America’s best-known actors, starring in 1989’s \u003cem>Driving Miss Daisy\u003c/em> and 1994’s \u003cem>The Shawshank Redemption\u003c/em>. He is known for his deep voice and often plays characters of gravitas and great moral rectitude. He portrayed Nelson Mandela in \u003cem>Invictus\u003c/em>, the president of the United States in \u003cem>Deep Impact\u003c/em> and God in \u003cem>Bruce Almighty\u003c/em>.\u003c/p>\n\u003cp>The CNN report also includes allegations involving McCreary, Freeman’s business partner — sometimes as victim, sometimes as perpetrator. \u003ca href=\"https://www.hollywoodreporter.com/news/morgan-freeman-respects-his-producing-899710\">Speaking at a conference in 2016\u003c/a>, Freeman said of McCreary, “She wants to be thought of as serious. But you can’t get away from the short dresses.”\u003c/p>\n\u003cp>The moderator asked Freeman whether his comments could be seen as sexist and misogynistic. “Sexist? Yeah,” Freeman replied, “but I’m not misogynistic.”\u003c/p>\n\u003cp>But former employees at Revelations told CNN that McCreary was part of the problem, making comments such as, “she’ll never be able to do a good job, she has a family” and mocking women who left work early for family commitments.\u003c/p>\n\u003cp>Employees reportedly formed a “survivors club” to commiserate about what they experienced at Revelations.\u003c/p>\n\u003cp>The actor’s power and stature allowed him to behave inappropriately out in the open and without consequence, according to an unnamed production assistant who worked with Freeman on \u003cem>The Dark Knight\u003c/em>.\u003c/p>\n\u003cp>“Morgan did things in a way that an older more established person can get away with because they have that power,” the woman told CNN.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They can’t be replaced, but you can be replaced very easily, that’s just kind of the dynamic on set. PAs can be replaced, grips can be replaced, electricians can be replaced, but the actors — once they’re in, they’re in. … [I]f you report somebody like Morgan Freeman that the movie would lose a lot of money by replacing them or getting them in trouble, then you’re the troublemaker and you’ll get fired because you’re just a PA.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+Accuse+Morgan+Freeman+Of+Harassment%2C+Inappropriate+Behavior%2C+CNN+Reports&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833521/women-accuse-morgan-freeman-of-harassment-inappropriate-behavior-cnn-reports",
"authors": [
"byline_arts_13833521"
],
"categories": [
"arts_235"
],
"tags": [
"arts_4778"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833536",
"label": "arts_137"
},
"arts_13833507": {
"type": "posts",
"id": "arts_13833507",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833507",
"score": null,
"sort": [
1527274467000
]
},
"guestAuthors": [],
"slug": "harvey-weinstein-charged-with-rape-after-surrendering-to-n-y-police",
"title": "Harvey Weinstein Charged With Rape After Surrendering to N.Y. Police",
"publishDate": 1527274467,
"format": "standard",
"headTitle": "Harvey Weinstein Charged With Rape After Surrendering to N.Y. Police | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cstrong>Updated at 9:58 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Harvey Weinstein surrendered Friday to authorities at a police station in New York City, where the former Hollywood megaproducer has been charged with rape and sexual misconduct.\u003c/p>\n\u003cp>Weinstein arrived early in the morning at the New York Police Department’s 1st Precinct in Lower Manhattan, ushered into the station by law enforcement officers as members of the media crowded behind metal barriers. He kept his gaze lowered amid a barrage of shouted questions.\u003c/p>\n\u003cp>Once inside, Weinstein was charged with one count each of first- and third-degree rape, as well as first-degree criminal sex act. The felony charges concern “forcible sexual acts against two women in 2013 and 2004, respectively,” the Manhattan District Attorney’s Office announced Friday.\u003c/p>\n\u003cp>“Today’s charges reflect significant progress in this active, ongoing investigation,” District Attorney Cyrus Vance said in a statement. “I thank the brave survivors who have come forward, and my Office’s prosecutors who have worked tirelessly on this investigation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The disgraced Hollywood megaproducer turned himself in to authorities Friday morning in New York City, where he was charged with rape and sexual misconduct for incidents involving two women.",
"status": "publish",
"parent": 0,
"modified": 1782406621,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 709
},
"headData": {
"title": "Harvey Weinstein Charged With Rape After Surrendering to N.Y. Police | KQED",
"description": "The disgraced Hollywood megaproducer turned himself in to authorities Friday morning in New York City, where he was charged with rape and sexual misconduct for incidents involving two women.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Harvey Weinstein Charged With Rape After Surrendering to N.Y. Police",
"datePublished": "2018-05-25T11:54:27-07:00",
"dateModified": "2026-06-25T09:57:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 235,
"slug": "news",
"name": "News"
},
"sticky": false,
"nprImageCredit": "Steven Ferdman",
"nprByline": "Colin Dwyer",
"nprImageAgency": "Getty Images",
"nprStoryId": "614339339",
"nprApiLink": "http://api.npr.org/query?id=614339339&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges?ft=nprml&f=614339339",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 25 May 2018 12:27:00 -0400",
"nprStoryDate": "Fri, 25 May 2018 07:32:00 -0400",
"nprLastModifiedDate": "Fri, 25 May 2018 12:27:09 -0400",
"path": "/arts/13833507/harvey-weinstein-charged-with-rape-after-surrendering-to-n-y-police",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 9:58 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Harvey Weinstein surrendered Friday to authorities at a police station in New York City, where the former Hollywood megaproducer has been charged with rape and sexual misconduct.\u003c/p>\n\u003cp>Weinstein arrived early in the morning at the New York Police Department’s 1st Precinct in Lower Manhattan, ushered into the station by law enforcement officers as members of the media crowded behind metal barriers. He kept his gaze lowered amid a barrage of shouted questions.\u003c/p>\n\u003cp>Once inside, Weinstein was charged with one count each of first- and third-degree rape, as well as first-degree criminal sex act. The felony charges concern “forcible sexual acts against two women in 2013 and 2004, respectively,” the Manhattan District Attorney’s Office announced Friday.\u003c/p>\n\u003cp>“Today’s charges reflect significant progress in this active, ongoing investigation,” District Attorney Cyrus Vance said in a statement. “I thank the brave survivors who have come forward, and my Office’s prosecutors who have worked tirelessly on this investigation.”\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>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833507/harvey-weinstein-charged-with-rape-after-surrendering-to-n-y-police",
"authors": [
"byline_arts_13833507"
],
"categories": [
"arts_235"
],
"tags": [
"arts_2798",
"arts_2777",
"arts_746",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833508",
"label": "arts_137"
},
"arts_13833357": {
"type": "posts",
"id": "arts_13833357",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833357",
"score": null,
"sort": [
1527253256000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527253256,
"format": "standard",
"title": "London Calling (Occupants Of Interplanetary Craft): 'How To Talk To Girls At Parties'",
"headTitle": "London Calling (Occupants Of Interplanetary Craft): ‘How To Talk To Girls At Parties’ | KQED",
"content": "\u003cp>\u003cem>Men Are From From Mars, Women Are From Venus,\u003c/em> a best-selling early-’90s relationships guidebook argued. \u003cem>How to Talk to Girls at Parties,\u003c/em> a sweet, slight comic fantasy expanded from an early-aughts Neil Gaiman short story, knows the truth is far more complex: Men and Women Are from Earth, Members of an Advanced Extraterrestrial Species on a Reconnaissance Mission Here While Temporarily Wearing the Bodies of Men and Women are from… well, we never find out where they’re from, exactly. But every planet has its misfits. \u003c/p>\n\u003cp>\u003cem>How to Talk to Girls\u003c/em> is set in the South London borough of Croydon, which matters a little, and in 1977, which matters a lot. (The film was shot in Sheffield, perhaps because it looks more like late-seventies Croydon than present-day Croydon does.) Punk is in full, safety-pinned bloom. Adolescent cartoonist En (Broadway veteran Alex Sharp) publishes a fanzine, \u003cem>Virus\u003c/em>, with his two mates; they’re regulars at a club/art space run by Queen Boadicea, the grande dame dowager of this small pond. The Queen is played with a not-quite-maternal wariness by Nicole Kidman, punked out like Daryl Hannah in \u003cem>Blade Runner\u003c/em>—which was of course made by a Brit right around the time punk was hitting its hard-coded termination date.\u003c/p>\n\u003cp>https://youtu.be/nWzHaRM8jeo\u003c/p>\n\u003cp>Seeking another grimy rock-club party, the three boys find themselves instead Pied-Pipered towards a modernist Warholian Exploding Plastic Inevitable-type-deal in a handsome old manor house. The music sounds more like Kraftwerk than the Sex Pistols or the Damned. Most of the revelers are performing an elaborate group dance; all are dressed in color-coded body-hugging latex. En’s swaggering pal Vic (Abraham Lewis) goes straight for Stella (Ruth Wilson), the most sexually assertive girl at the dance. But being the more bashful, inquisitive sort—the kind who grow up to be writers—En ends up chatting with Zan (Elle Fanning), who’s grown weary of the Prime Directive-type-regulations governing her exposure to earthlings while she’s here on Earth. Their meet-cute leaves Zan with a slightly flummoxed vocabulary, wherein the kinds of worldly experiences she seeks are collectively referred to as “punk.” \u003c/p>\n\u003cp>That’s roughly where Gaiman’s story leaves it. But director John Cameron Mitchell (\u003cem>Hedwig and the Angry Inch\u003c/em>, \u003cem>Shortbus\u003c/em>) and co-screenwriter Philippa Goslett have tricked out the tale with a proper beginning and ending, and populated it with appealingly dimensional people and aliens. They’ve added Kidman’s character, as well as the marvelous Joanna Scanlan as En’s lonely single mum—who still, as she is moved to remind even her own ungrateful boy, has a clitoris. On the other side of the species divide, we have Tom Brooke as a sympathetic “parentteacher” trying to balance Zan’s lust for freedom with the well-being of the collective. (“Do you have something you’d like to interjaculate?” he asks her during one of their meetings.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m aware as I write this how much it sounds like a hacky vignette from 1972’s \u003cem>Everything You Ever Wanted to Know About Sex* (*But Were Afraid to Ask)\u003c/em>. But it plays more like the goofy flip side of\u003cem> Under the Skin\u003c/em>, the chilly 2014 sci-fi film that starred Scarlett Johansson as a mysterious visitor luring willing Scottish men into her van. There’s a warmth and inclusivity here that sets it apart from the sex comedies of the era in which it’s set; \u003cem>How to Talk to Girls\u003c/em> posits sex and relationships as matters to be explored and discovered, rather than won or mastered. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A pair of brief, tacky animated sequences of—I think—microbes copulating would’ve been better left excised, and not just because these colorful lifeforms look an awful lot like the Infinity Gems that the Marvel villain Thanos sought with such militant completism. (\u003cem>How to Talk to Girls\u003c/em> premiered at the Cannes Film Festival a year ago; why it’s only being released now is a mystery.) We don’t need these inserts of petri-dish chemistry to buy that Fanning and Sharp resonate on the same wavelength. Fanning has the sort of doll-like appearance that keeps getting her cast as princesses and teen supermodels and hot extraterrestrials, but director Mitchell isn’t interested in manic pixies. Here, Fanning’s character is just a curious kid from another world, and the journey from innocence to experience depicted here is more hers than than her boyfriend’s. That alone is enough to make \u003cem>How to Talk to Girls at Parties\u003c/em> a refreshing tonic against blockbusteritis. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 811,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705027771,
"excerpt": "John Cameron Mitchell's \"sweet, slight comic fantasy\" explores what happens when a young man in 1977 London meet-cutes a young woman who's from ... out of town. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "John Cameron Mitchell's "sweet, slight comic fantasy" explores what happens when a young man in 1977 London meet-cutes a young woman who's from ... out of town. ",
"title": "London Calling (Occupants Of Interplanetary Craft): 'How To Talk To Girls At Parties' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "London Calling (Occupants Of Interplanetary Craft): 'How To Talk To Girls At Parties'",
"datePublished": "2018-05-25T06:00:56-07:00",
"dateModified": "2024-01-11T18:49:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "london-calling-occupants-of-interplanetary-craft-how-to-talk-to-girls-at-parties",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=611624098&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 17 May 2018 17:00:56 -0400",
"nprLastModifiedDate": "Thu, 17 May 2018 17:00:56 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/05/17/611624098/london-calling-occupants-of-interplanetary-craft-how-to-talk-to-girls-at-parties?ft=nprml&f=611624098",
"nprImageAgency": "A24",
"nprStoryId": "611624098",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 17 May 2018 17:00:00 -0400",
"path": "/arts/13833357/london-calling-occupants-of-interplanetary-craft-how-to-talk-to-girls-at-parties",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Men Are From From Mars, Women Are From Venus,\u003c/em> a best-selling early-’90s relationships guidebook argued. \u003cem>How to Talk to Girls at Parties,\u003c/em> a sweet, slight comic fantasy expanded from an early-aughts Neil Gaiman short story, knows the truth is far more complex: Men and Women Are from Earth, Members of an Advanced Extraterrestrial Species on a Reconnaissance Mission Here While Temporarily Wearing the Bodies of Men and Women are from… well, we never find out where they’re from, exactly. But every planet has its misfits. \u003c/p>\n\u003cp>\u003cem>How to Talk to Girls\u003c/em> is set in the South London borough of Croydon, which matters a little, and in 1977, which matters a lot. (The film was shot in Sheffield, perhaps because it looks more like late-seventies Croydon than present-day Croydon does.) Punk is in full, safety-pinned bloom. Adolescent cartoonist En (Broadway veteran Alex Sharp) publishes a fanzine, \u003cem>Virus\u003c/em>, with his two mates; they’re regulars at a club/art space run by Queen Boadicea, the grande dame dowager of this small pond. The Queen is played with a not-quite-maternal wariness by Nicole Kidman, punked out like Daryl Hannah in \u003cem>Blade Runner\u003c/em>—which was of course made by a Brit right around the time punk was hitting its hard-coded termination date.\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/nWzHaRM8jeo'\n title='//www.youtube.com/embed/nWzHaRM8jeo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Seeking another grimy rock-club party, the three boys find themselves instead Pied-Pipered towards a modernist Warholian Exploding Plastic Inevitable-type-deal in a handsome old manor house. The music sounds more like Kraftwerk than the Sex Pistols or the Damned. Most of the revelers are performing an elaborate group dance; all are dressed in color-coded body-hugging latex. En’s swaggering pal Vic (Abraham Lewis) goes straight for Stella (Ruth Wilson), the most sexually assertive girl at the dance. But being the more bashful, inquisitive sort—the kind who grow up to be writers—En ends up chatting with Zan (Elle Fanning), who’s grown weary of the Prime Directive-type-regulations governing her exposure to earthlings while she’s here on Earth. Their meet-cute leaves Zan with a slightly flummoxed vocabulary, wherein the kinds of worldly experiences she seeks are collectively referred to as “punk.” \u003c/p>\n\u003cp>That’s roughly where Gaiman’s story leaves it. But director John Cameron Mitchell (\u003cem>Hedwig and the Angry Inch\u003c/em>, \u003cem>Shortbus\u003c/em>) and co-screenwriter Philippa Goslett have tricked out the tale with a proper beginning and ending, and populated it with appealingly dimensional people and aliens. They’ve added Kidman’s character, as well as the marvelous Joanna Scanlan as En’s lonely single mum—who still, as she is moved to remind even her own ungrateful boy, has a clitoris. On the other side of the species divide, we have Tom Brooke as a sympathetic “parentteacher” trying to balance Zan’s lust for freedom with the well-being of the collective. (“Do you have something you’d like to interjaculate?” he asks her during one of their meetings.)\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’m aware as I write this how much it sounds like a hacky vignette from 1972’s \u003cem>Everything You Ever Wanted to Know About Sex* (*But Were Afraid to Ask)\u003c/em>. But it plays more like the goofy flip side of\u003cem> Under the Skin\u003c/em>, the chilly 2014 sci-fi film that starred Scarlett Johansson as a mysterious visitor luring willing Scottish men into her van. There’s a warmth and inclusivity here that sets it apart from the sex comedies of the era in which it’s set; \u003cem>How to Talk to Girls\u003c/em> posits sex and relationships as matters to be explored and discovered, rather than won or mastered. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A pair of brief, tacky animated sequences of—I think—microbes copulating would’ve been better left excised, and not just because these colorful lifeforms look an awful lot like the Infinity Gems that the Marvel villain Thanos sought with such militant completism. (\u003cem>How to Talk to Girls\u003c/em> premiered at the Cannes Film Festival a year ago; why it’s only being released now is a mystery.) We don’t need these inserts of petri-dish chemistry to buy that Fanning and Sharp resonate on the same wavelength. Fanning has the sort of doll-like appearance that keeps getting her cast as princesses and teen supermodels and hot extraterrestrials, but director Mitchell isn’t interested in manic pixies. Here, Fanning’s character is just a curious kid from another world, and the journey from innocence to experience depicted here is more hers than than her boyfriend’s. That alone is enough to make \u003cem>How to Talk to Girls at Parties\u003c/em> a refreshing tonic against blockbusteritis. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833357/london-calling-occupants-of-interplanetary-craft-how-to-talk-to-girls-at-parties",
"authors": [
"byline_arts_13833357"
],
"categories": [
"arts_74"
],
"tags": [
"arts_928",
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833358",
"label": "arts_137"
},
"arts_13833321": {
"type": "posts",
"id": "arts_13833321",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833321",
"score": null,
"sort": [
1527116420000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527116420,
"format": "standard",
"title": "Brandi Chastain's Hall of Fame Plaque Looks Like Basically Anyone But Her",
"headTitle": "Brandi Chastain’s Hall of Fame Plaque Looks Like Basically Anyone But Her | KQED",
"content": "\u003cp>It was supposed to be an honor.\u003c/p>\n\u003cp>In a ceremony Monday night at the Westin St. Francis Hotel in San Francisco, U.S. soccer great Brandi Chastain was inducted into the Bay Area Sports Hall of Fame. She was presented with a bronze plaque of her likeness, \u003ca href=\"http://bashof.org/hall-of-fame/\">to be displayed\u003c/a> at San Francisco International Airport.\u003c/p>\n\u003cp>Well, it was supposed to be of her likeness.\u003c/p>\n\u003cp>This is Chastain in 2017, at the Rose Bowl, where she famously scored the game-winning penalty kick at the 1999 World Cup Final.\u003c/p>\n\u003cfigure id=\"attachment_13833323\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg\" alt=\"Brandi Chastain at the Rose Bowl in 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Chastain at the Rose Bowl in 2017. \u003ccite>(USA Today Sports/USA Today Sports)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/annkillion/status/998778381570260992\" target=\"_blank\" rel=\"noopener\">This is the plaque\u003c/a> of Chastain, winner of two World Cups and two-time Olympic gold medalist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/annkillion/status/998778381570260992\u003c/p>\n\u003cp>Chastain posed for pictures with the plaque, and almost managed to not visibly cringe. “It’s not the most flattering, but it’s nice,” she said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ubyPFQtpJSo\u003c/p>\n\u003cp>The discrepancy between the athlete and the depiction was brought to national attention by \u003cem>San Francisco Chronicle\u003c/em> sports columnist Ann Killion.\u003c/p>\n\u003cp>“Brandi Chastain is one of the most beautiful athletes I’ve ever covered,” she tweeted. “How this became her plaque is a freaking embarrassment for BASHOF. Makes Cristiano’s look perfect.”\u003c/p>\n\u003cp>(She’s referencing Portuguese footballer Cristiano Ronaldo, whose good looks have also \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/29/521940923/cristiano-ronaldos-new-bronze-bust-is-turning-heads\" target=\"_blank\" rel=\"noopener\">proved weirdly difficult\u003c/a> to translate into bronze.)\u003c/p>\n\u003cp>Soccer Twitter leapt into action, diptyching like there was no tomorrow. Didn’t the plaque look most like \u003ca href=\"https://twitter.com/laughpastfive/status/998964513989906432\" target=\"_blank\" rel=\"noopener\">Eleanor Roosevelt\u003c/a>?\u003c/p>\n\u003cp>https://twitter.com/laughpastfive/status/998964513989906432\u003c/p>\n\u003cp>Or perhaps that toothy smile was more reminiscent of former NFL coach \u003ca href=\"https://twitter.com/svertelney/status/998931902773022720\" target=\"_blank\" rel=\"noopener\">Rex Ryan\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/svertelney/status/998931902773022720\u003c/p>\n\u003cp>But something about the cheeks and brow really \u003ca href=\"https://twitter.com/PavlosRozis/status/998788783393853440\" target=\"_blank\" rel=\"noopener\">called\u003c/a> to mind \u003ca href=\"http://backtothefuture.wikia.com/wiki/Biff_Tannen\">Biff\u003c/a>, from \u003cem>Back to the Future\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/PavlosRozis/status/998788783393853440\u003c/p>\n\u003cp>A very strong case \u003ca href=\"https://twitter.com/UCLADodgerFrank/status/998991499189673984\" target=\"_blank\" rel=\"noopener\">was made\u003c/a> for actor Gary Busey.\u003c/p>\n\u003cp>https://twitter.com/UCLADodgerFrank/status/998991499189673984\u003c/p>\n\u003cp>And for peanut farmer and president \u003ca href=\"https://twitter.com/tornadolightnin/status/998975856121909248\" target=\"_blank\" rel=\"noopener\">Jimmy Carter\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/tornadolightnin/status/998975856121909248\u003c/p>\n\u003cp>The outpouring worked its magic.\u003c/p>\n\u003cp>On Tuesday afternoon, Chastain \u003ca href=\"https://www.sfchronicle.com/sports/article/Chastain-s-unflattering-hall-of-fame-plaque-12934627.php\" target=\"_blank\" rel=\"noopener\">told \u003c/a>Killion that the Hall of Fame plans to redo the plaque.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’ve asked “for a photo of my choosing, so I need to find one,” Chastain said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Brandi+Chastain%27s+Hall+Of+Fame+Plaque+Looks+Like+Basically+Anyone+But+Her&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 394,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705027789,
"excerpt": "The bronze depiction of the U.S. soccer legend called to mind Jimmy Carter, Eleanor Roosevelt and Gary Busey. Chastain took it in stride: \"It's not the most flattering, but it's nice.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The bronze depiction of the U.S. soccer legend called to mind Jimmy Carter, Eleanor Roosevelt and Gary Busey. Chastain took it in stride: "It's not the most flattering, but it's nice."",
"title": "Brandi Chastain's Hall of Fame Plaque Looks Like Basically Anyone But Her | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Brandi Chastain's Hall of Fame Plaque Looks Like Basically Anyone But Her",
"datePublished": "2018-05-23T16:00:20-07:00",
"dateModified": "2024-01-11T18:49:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "brandi-chastains-hall-of-fame-plaque-looks-like-basically-anyone-but-her",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=613417869&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laurel Wamsley",
"nprStoryDate": "Tue, 22 May 2018 16:53:00 -0400",
"nprLastModifiedDate": "Wed, 23 May 2018 09:50:07 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/05/22/613417869/brandi-chastains-hall-of-fame-plaque-looks-like-basically-anyone-but-her?ft=nprml&f=613417869",
"nprImageAgency": "Reuters",
"nprImageCredit": "Mike Blake",
"nprStoryId": "613417869",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 23 May 2018 09:50:00 -0400",
"path": "/arts/13833321/brandi-chastains-hall-of-fame-plaque-looks-like-basically-anyone-but-her",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was supposed to be an honor.\u003c/p>\n\u003cp>In a ceremony Monday night at the Westin St. Francis Hotel in San Francisco, U.S. soccer great Brandi Chastain was inducted into the Bay Area Sports Hall of Fame. She was presented with a bronze plaque of her likeness, \u003ca href=\"http://bashof.org/hall-of-fame/\">to be displayed\u003c/a> at San Francisco International Airport.\u003c/p>\n\u003cp>Well, it was supposed to be of her likeness.\u003c/p>\n\u003cp>This is Chastain in 2017, at the Rose Bowl, where she famously scored the game-winning penalty kick at the 1999 World Cup Final.\u003c/p>\n\u003cfigure id=\"attachment_13833323\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg\" alt=\"Brandi Chastain at the Rose Bowl in 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/rts163jn-ebf0287b74a1c9f90f2a927fa6b1a032d831a3eb.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Chastain at the Rose Bowl in 2017. \u003ccite>(USA Today Sports/USA Today Sports)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/annkillion/status/998778381570260992\" target=\"_blank\" rel=\"noopener\">This is the plaque\u003c/a> of Chastain, winner of two World Cups and two-time Olympic gold medalist.\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>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998778381570260992"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Chastain posed for pictures with the plaque, and almost managed to not visibly cringe. “It’s not the most flattering, but it’s nice,” she said.\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/ubyPFQtpJSo'\n title='//www.youtube.com/embed/ubyPFQtpJSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The discrepancy between the athlete and the depiction was brought to national attention by \u003cem>San Francisco Chronicle\u003c/em> sports columnist Ann Killion.\u003c/p>\n\u003cp>“Brandi Chastain is one of the most beautiful athletes I’ve ever covered,” she tweeted. “How this became her plaque is a freaking embarrassment for BASHOF. Makes Cristiano’s look perfect.”\u003c/p>\n\u003cp>(She’s referencing Portuguese footballer Cristiano Ronaldo, whose good looks have also \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/03/29/521940923/cristiano-ronaldos-new-bronze-bust-is-turning-heads\" target=\"_blank\" rel=\"noopener\">proved weirdly difficult\u003c/a> to translate into bronze.)\u003c/p>\n\u003cp>Soccer Twitter leapt into action, diptyching like there was no tomorrow. Didn’t the plaque look most like \u003ca href=\"https://twitter.com/laughpastfive/status/998964513989906432\" target=\"_blank\" rel=\"noopener\">Eleanor Roosevelt\u003c/a>?\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998964513989906432"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Or perhaps that toothy smile was more reminiscent of former NFL coach \u003ca href=\"https://twitter.com/svertelney/status/998931902773022720\" target=\"_blank\" rel=\"noopener\">Rex Ryan\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998931902773022720"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But something about the cheeks and brow really \u003ca href=\"https://twitter.com/PavlosRozis/status/998788783393853440\" target=\"_blank\" rel=\"noopener\">called\u003c/a> to mind \u003ca href=\"http://backtothefuture.wikia.com/wiki/Biff_Tannen\">Biff\u003c/a>, from \u003cem>Back to the Future\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998788783393853440"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A very strong case \u003ca href=\"https://twitter.com/UCLADodgerFrank/status/998991499189673984\" target=\"_blank\" rel=\"noopener\">was made\u003c/a> for actor Gary Busey.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998991499189673984"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And for peanut farmer and president \u003ca href=\"https://twitter.com/tornadolightnin/status/998975856121909248\" target=\"_blank\" rel=\"noopener\">Jimmy Carter\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998975856121909248"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The outpouring worked its magic.\u003c/p>\n\u003cp>On Tuesday afternoon, Chastain \u003ca href=\"https://www.sfchronicle.com/sports/article/Chastain-s-unflattering-hall-of-fame-plaque-12934627.php\" target=\"_blank\" rel=\"noopener\">told \u003c/a>Killion that the Hall of Fame plans to redo the plaque.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’ve asked “for a photo of my choosing, so I need to find one,” Chastain said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Brandi+Chastain%27s+Hall+Of+Fame+Plaque+Looks+Like+Basically+Anyone+But+Her&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833321/brandi-chastains-hall-of-fame-plaque-looks-like-basically-anyone-but-her",
"authors": [
"byline_arts_13833321"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833322",
"label": "arts_137"
},
"arts_13833170": {
"type": "posts",
"id": "arts_13833170",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833170",
"score": null,
"sort": [
1527029562000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527029562,
"format": "video",
"title": "Michael Jackson's Gravity-Defying Lean Continues to Fascinate",
"headTitle": "Michael Jackson’s Gravity-Defying Lean Continues to Fascinate | KQED",
"content": "\u003cp>From the quarter toss into the jukebox to the cue ball crushed into powder and blown into a baddie’s face to the moonwalk that lasts more than a blink of an eye, if you haven’t watched the video for \u003ca href=\"https://www.npr.org/artists/16782748/michael-jackson\">Michael Jackson\u003c/a>‘s “Smooth Criminal” in a while, it’s every bit as magic as you remember it. Jackson was always something of an illusionist, particularly when it came to his signature dance moves.\u003c/p>\n\u003cp>Three neurosurgeons (and admitted Jackson fans) from the Postgraduate Institute of Medical Education and Research in Chandigarh, India — Nishant S. Yagnick, Manjul Tripathi and Sandeep Mohindra — have revisited how the King of Pop achieved the 45-degree lean while keeping his spine straight, not just on video, but in live performances around the world.\u003c/p>\n\u003cp>“Several MJ fans, including the authors, have tried to copy this move and failed, often injuring themselves in their endeavors,” reads the \u003ca href=\"http://thejns.org/doi/full/10.3171/2018.2.SPINE171443\">paper published\u003c/a> in the \u003cem>Journal of Neurosurgery\u003c/em>. Trained dancers can lean forward a maximum of 25 to 30 degrees, but even then, it can put serious strain on the Achilles tendon.\u003c/p>\n\u003cfigure id=\"attachment_13833172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe\" alt=\"Michael Jackson's 45-degree tilt versus the rest of humanity illustrated, along with Jackson's secret weapon.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1200x900.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-520x390.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson’s 45-degree tilt versus the rest of humanity illustrated, along with Jackson’s secret weapon. \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a secret that the card up Jackson’s sleeve, so to speak, was a special shoe \u003ca href=\"https://catalog.archives.gov/id/5742939\">patented under his name\u003c/a> way back in 1993.\u003c/p>\n\u003cp>“The triangular slot could engage a hitch member (a metallic peg, which emerged from the stage floor at just the right time), allowing the dancer to obtain the right amount of extra support to be able to lean forward beyond physiological limits,” the paper continues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So no — MJ’s shoe-hitch isn’t \u003cem>new\u003c/em> news, but, as the neurosurgeons elaborate, the mind-boggling feat could only occur with incredible core strength from the spinal and lower-limb muscles. So, basically: Don’t try this home, unless you have anti-gravity footwear and are totally jacked. \u003c/p>\n\u003cfigure id=\"attachment_13833171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe\" alt=\"Michael Jackson puts all of the pressure of his dance move on the Achilles tendon\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-520x293.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson puts all of the pressure of his dance move on the Achilles tendon \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Jackson%27s+Gravity-Defying+Lean+Continues+To+Fascinate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 379,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705027802,
"excerpt": "It turns out the 45-degree tilt seen in the \"Smooth Criminal\" video is a mix of illusion, science and some serious athleticism.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It turns out the 45-degree tilt seen in the "Smooth Criminal" video is a mix of illusion, science and some serious athleticism.",
"title": "Michael Jackson's Gravity-Defying Lean Continues to Fascinate | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Michael Jackson's Gravity-Defying Lean Continues to Fascinate",
"datePublished": "2018-05-22T15:52:42-07:00",
"dateModified": "2024-01-11T18:50:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "michael-jacksons-gravity-defying-lean-continues-to-fascinate",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=613306407&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"videoEmbed": "https://www.youtube.com/watch?v=h_D3VFfhvs4",
"nprByline": "Lars Gotrich",
"nprStoryDate": "Tue, 22 May 2018 12:38:00 -0400",
"nprLastModifiedDate": "Tue, 22 May 2018 17:21:12 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/05/22/613306407/michael-jacksons-gravity-defying-lean-continues-to-fascinate?ft=nprml&f=613306407",
"nprImageAgency": "Courtesy of Manjul Tripathi",
"nprStoryId": "613306407",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 22 May 2018 17:21:00 -0400",
"path": "/arts/13833170/michael-jacksons-gravity-defying-lean-continues-to-fascinate",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the quarter toss into the jukebox to the cue ball crushed into powder and blown into a baddie’s face to the moonwalk that lasts more than a blink of an eye, if you haven’t watched the video for \u003ca href=\"https://www.npr.org/artists/16782748/michael-jackson\">Michael Jackson\u003c/a>‘s “Smooth Criminal” in a while, it’s every bit as magic as you remember it. Jackson was always something of an illusionist, particularly when it came to his signature dance moves.\u003c/p>\n\u003cp>Three neurosurgeons (and admitted Jackson fans) from the Postgraduate Institute of Medical Education and Research in Chandigarh, India — Nishant S. Yagnick, Manjul Tripathi and Sandeep Mohindra — have revisited how the King of Pop achieved the 45-degree lean while keeping his spine straight, not just on video, but in live performances around the world.\u003c/p>\n\u003cp>“Several MJ fans, including the authors, have tried to copy this move and failed, often injuring themselves in their endeavors,” reads the \u003ca href=\"http://thejns.org/doi/full/10.3171/2018.2.SPINE171443\">paper published\u003c/a> in the \u003cem>Journal of Neurosurgery\u003c/em>. Trained dancers can lean forward a maximum of 25 to 30 degrees, but even then, it can put serious strain on the Achilles tendon.\u003c/p>\n\u003cfigure id=\"attachment_13833172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe\" alt=\"Michael Jackson's 45-degree tilt versus the rest of humanity illustrated, along with Jackson's secret weapon.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1200x900.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-520x390.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson’s 45-degree tilt versus the rest of humanity illustrated, along with Jackson’s secret weapon. \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a secret that the card up Jackson’s sleeve, so to speak, was a special shoe \u003ca href=\"https://catalog.archives.gov/id/5742939\">patented under his name\u003c/a> way back in 1993.\u003c/p>\n\u003cp>“The triangular slot could engage a hitch member (a metallic peg, which emerged from the stage floor at just the right time), allowing the dancer to obtain the right amount of extra support to be able to lean forward beyond physiological limits,” the paper continues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So no — MJ’s shoe-hitch isn’t \u003cem>new\u003c/em> news, but, as the neurosurgeons elaborate, the mind-boggling feat could only occur with incredible core strength from the spinal and lower-limb muscles. So, basically: Don’t try this home, unless you have anti-gravity footwear and are totally jacked. \u003c/p>\n\u003cfigure id=\"attachment_13833171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe\" alt=\"Michael Jackson puts all of the pressure of his dance move on the Achilles tendon\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-520x293.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson puts all of the pressure of his dance move on the Achilles tendon \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Jackson%27s+Gravity-Defying+Lean+Continues+To+Fascinate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833170/michael-jacksons-gravity-defying-lean-continues-to-fascinate",
"authors": [
"byline_arts_13833170"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1448",
"arts_4919",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833171",
"label": "arts_137"
},
"arts_13833135": {
"type": "posts",
"id": "arts_13833135",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833135",
"score": null,
"sort": [
1527020206000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1527020206,
"format": "standard",
"title": "Artist Robert Indiana Dies at 89: The Story Behind 'LOVE'",
"headTitle": "Artist Robert Indiana Dies at 89: The Story Behind ‘LOVE’ | KQED",
"content": "\u003cp>Fifty years after his \u003cem>LOVE\u003c/em> painting made Robert Indiana a sensation, the artist has died at the age of 89. \u003c/p>\n\u003cp>Indiana’s two-row rendering of the word, with its tilted “O,” became one of the most recognizable works of modern art in the world. The famous design emerged from deep influences in Indiana’s life, from his early exposure to religion to his father’s career.\u003c/p>\n\u003cp>Indiana died Saturday at his home in Vinalhaven, Maine. His death came a day after a controversy emerged over control of his work, with a federal lawsuit alleging that Indiana had been isolated from his loved ones, and that his art had been exploited for profit. The case involves an art publisher and a caretaker who had been granted power of attorney, as \u003ca href=\"https://www.nytimes.com/2018/05/21/arts/design/robert-indiana-vanished-artist.html\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>.\u003c/p>\n\u003cp>Born Robert Clark, the artist changed his name to Indiana as a reference to his home state. In 1946, he had turned down a chance to go to art school in order to enlist in the Air Force. After he left the service, Indiana attended the School of the Art Institute of Chicago under the G.I. Bill.\u003c/p>\n\u003cfigure id=\"attachment_13833136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg\" alt=\"Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He's seen here in his studio in Vinalhaven, Me., in 2008.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He’s seen here in his studio in Vinalhaven, Me., in 2008. \u003ccite>(Joel Page/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indiana moved to New York City in the 1950s, meeting artists such as Ellsworth Kelly and Cy Twombly and working a string of jobs as he honed his art. In the 1960s, he began making one-word paintings and met Andy Warhol and other influential artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The work \u003cem>LOVE\u003c/em> began as a Christmas card that was commissioned by The Museum of Modern Art in 1965. At the time, Indiana was nearly 40 years old and had enjoyed success as an artist in New York – but nothing like what was awaiting him.\u003c/p>\n\u003cfigure id=\"attachment_13833137\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg\" alt=\"In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia's LOVE Park -- officially known as John F. Kennedy Plaza\" width=\"800\" height=\"1068\" class=\"size-medium wp-image-13833137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-960x1282.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1.jpg 1254w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia’s LOVE Park — officially known as John F. Kennedy Plaza \u003ccite>(Mike Mergen/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting quickly became a symbol of the flower-powered ’60s; in the years since, it has persisted as both a pop symbol and an elegant reminder of a core human emotion.\u003c/p>\n\u003cp>Indiana created a 6-by-6 feet painting of the work \u003ca href=\"http://robertindiana.com/works/love-5/\" target=\"_blank\" rel=\"noopener\">in 1966\u003c/a>; he would go on to turn it into sculptures; and in the 1970s, \u003cem>LOVE\u003c/em> became a U.S. postage stamp.\u003c/p>\n\u003cp>For Indiana, who once called himself simply an American sign painter, the now-iconic design followed early iterations that highlighted the word “love,” including a 1961 work titled \u003cem>Four Star Love\u003c/em>. He also presented it as a play on the phrase “God is love,” creating a circle in 1964 that framed the message \u003cem>Love Is God\u003c/em>.\u003c/p>\n\u003cp>For Indiana, it was his own translation of a phrase he often heard during his youth, when he was being raised as a Christian Scientist.\u003c/p>\n\u003cp>In different presentations, Indiana also used a range of contrasting colors to highlight \u003cem>LOVE.\u003c/em> But the colors of the first version hint at the deep meaning the work had in the artist’s own life.\u003c/p>\n\u003cp>“The red and the green came from the Philips 66 gas sign,” Indianapolis Museum of Art curator Martin Krause \u003ca href=\"https://www.npr.org/2014/01/05/259408158/robert-indiana-a-career-defined-by-love-no-longer\">told NPR in 2014\u003c/a>. “His father worked for Philips 66, and he remembered that combination; it fixed itself in his mind. And when he began making the \u003cem>LOVE\u003c/em> paintings in 1965, his father died. So the red and green of the [MoMA] \u003cem>LOVE\u003c/em> painting, silhouetted against the blue Indiana sky, is in memoriam of his father.”\u003c/p>\n\u003cp>https://twitter.com/VeroneseCris/status/998879278652682240\u003c/p>\n\u003cp>As Indiana told NPR in the same 2014 report, “Everything is relating to my own life.”\u003c/p>\n\u003cfigure id=\"attachment_13833138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg\" alt='A Robert Indiana installation of \"AMOR\" on exhibit in Piazza della Scala in Milan, Italy, in 2008' width=\"800\" height=\"450\" class=\"size-medium wp-image-13833138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Robert Indiana installation of “AMOR” on exhibit in Piazza della Scala in Milan, Italy, in 2008 \u003ccite>(Vittorio Zunino Celotto/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That message now stands in cities around the world, from New York City and Philadelphia — home of the famous LOVE Park — to Tokyo and Singapore. In some cases, \u003cem>LOVE\u003c/em> remains in its original form. It’s also been translated into Spanish, Hebrew and other languages.\u003c/p>\n\u003cp>Other works by Indiana serve as reminders of his mother – particularly the one-word piece \u003cem>HUG\u003c/em>, from the early 1960s. Other paintings juxtapose the words “EAT” and “DIE.”\u003c/p>\n\u003cp>“‘Hug’ is my mother’s word for affection,” Indiana told NPR. “‘Eat’ was the last word that she said before she died.\u003c/p>\n\u003cp>https://twitter.com/Bucks/status/998732503451033600\u003c/p>\n\u003cp>After his breakthrough success, Indiana was commissioned to design a hardwood basketball court for the \u003ca href=\"https://twitter.com/Bucks/status/998732503451033600\" target=\"_blank\" rel=\"noopener\">NBA’s Milwaukee Bucks,\u003c/a> featuring bright yellow paint and the arena’s nickname (the MECCA), along with two gigantic M’s.\u003c/p>\n\u003cp>But decades after creating \u003cem>LOVE\u003c/em> and other popular works, including the similarly designed \u003cem>HOPE\u003c/em>, Indiana complained that the art world had shunned him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003cem>LOVE\u003c/em> bit me,” Indiana said in 2014. “It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular. And there are people who don’t like popularity. It’s much better to be exclusive and remote. That’s why I’m on an island off the coast of Maine, you see.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Artist+Robert+Indiana+Dies+At+89%3A+The+Story+Behind+%27LOVE%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 930,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705027805,
"excerpt": "Fifty years ago, his \u003cem>LOVE \u003c/em>painting made Robert Indiana a worldwide sensation. But for the artist, the work also had an intensely personal meaning.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Fifty years ago, his LOVE painting made Robert Indiana a worldwide sensation. But for the artist, the work also had an intensely personal meaning.",
"title": "Artist Robert Indiana Dies at 89: The Story Behind 'LOVE' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Artist Robert Indiana Dies at 89: The Story Behind 'LOVE'",
"datePublished": "2018-05-22T13:16:46-07:00",
"dateModified": "2024-01-11T18:50:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "artist-robert-indiana-dies-at-89-the-story-behind-love",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=613295340&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Tue, 22 May 2018 10:21:00 -0400",
"nprLastModifiedDate": "Tue, 22 May 2018 12:04:21 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/05/22/613295340/artist-robert-indiana-dies-at-89-the-story-behind-love?ft=nprml&f=613295340",
"nprStoryId": "613295340",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 22 May 2018 12:03:00 -0400",
"path": "/arts/13833135/artist-robert-indiana-dies-at-89-the-story-behind-love",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years after his \u003cem>LOVE\u003c/em> painting made Robert Indiana a sensation, the artist has died at the age of 89. \u003c/p>\n\u003cp>Indiana’s two-row rendering of the word, with its tilted “O,” became one of the most recognizable works of modern art in the world. The famous design emerged from deep influences in Indiana’s life, from his early exposure to religion to his father’s career.\u003c/p>\n\u003cp>Indiana died Saturday at his home in Vinalhaven, Maine. His death came a day after a controversy emerged over control of his work, with a federal lawsuit alleging that Indiana had been isolated from his loved ones, and that his art had been exploited for profit. The case involves an art publisher and a caretaker who had been granted power of attorney, as \u003ca href=\"https://www.nytimes.com/2018/05/21/arts/design/robert-indiana-vanished-artist.html\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>.\u003c/p>\n\u003cp>Born Robert Clark, the artist changed his name to Indiana as a reference to his home state. In 1946, he had turned down a chance to go to art school in order to enlist in the Air Force. After he left the service, Indiana attended the School of the Art Institute of Chicago under the G.I. Bill.\u003c/p>\n\u003cfigure id=\"attachment_13833136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg\" alt=\"Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He's seen here in his studio in Vinalhaven, Me., in 2008.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_080828046716-0008726bf9dce2109de9cdd356be7cbea13c6eaa-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Robert Indiana, who created the pop icon LOVE, has died at 89. He’s seen here in his studio in Vinalhaven, Me., in 2008. \u003ccite>(Joel Page/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indiana moved to New York City in the 1950s, meeting artists such as Ellsworth Kelly and Cy Twombly and working a string of jobs as he honed his art. In the 1960s, he began making one-word paintings and met Andy Warhol and other influential artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The work \u003cem>LOVE\u003c/em> began as a Christmas card that was commissioned by The Museum of Modern Art in 1965. At the time, Indiana was nearly 40 years old and had enjoyed success as an artist in New York – but nothing like what was awaiting him.\u003c/p>\n\u003cfigure id=\"attachment_13833137\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg\" alt=\"In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia's LOVE Park -- officially known as John F. Kennedy Plaza\" width=\"800\" height=\"1068\" class=\"size-medium wp-image-13833137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-1180x1575.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-960x1282.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-375x501.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ap_241864575851_vert-d0a36a2eadb804bca59208490bf4f81c2d80c8ac-1.jpg 1254w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 2004, the Rev. Jeffrey Jordan, left, and David Pickett exchanged vows at a same-sex commitment ceremony in Philadelphia’s LOVE Park — officially known as John F. Kennedy Plaza \u003ccite>(Mike Mergen/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting quickly became a symbol of the flower-powered ’60s; in the years since, it has persisted as both a pop symbol and an elegant reminder of a core human emotion.\u003c/p>\n\u003cp>Indiana created a 6-by-6 feet painting of the work \u003ca href=\"http://robertindiana.com/works/love-5/\" target=\"_blank\" rel=\"noopener\">in 1966\u003c/a>; he would go on to turn it into sculptures; and in the 1970s, \u003cem>LOVE\u003c/em> became a U.S. postage stamp.\u003c/p>\n\u003cp>For Indiana, who once called himself simply an American sign painter, the now-iconic design followed early iterations that highlighted the word “love,” including a 1961 work titled \u003cem>Four Star Love\u003c/em>. He also presented it as a play on the phrase “God is love,” creating a circle in 1964 that framed the message \u003cem>Love Is God\u003c/em>.\u003c/p>\n\u003cp>For Indiana, it was his own translation of a phrase he often heard during his youth, when he was being raised as a Christian Scientist.\u003c/p>\n\u003cp>In different presentations, Indiana also used a range of contrasting colors to highlight \u003cem>LOVE.\u003c/em> But the colors of the first version hint at the deep meaning the work had in the artist’s own life.\u003c/p>\n\u003cp>“The red and the green came from the Philips 66 gas sign,” Indianapolis Museum of Art curator Martin Krause \u003ca href=\"https://www.npr.org/2014/01/05/259408158/robert-indiana-a-career-defined-by-love-no-longer\">told NPR in 2014\u003c/a>. “His father worked for Philips 66, and he remembered that combination; it fixed itself in his mind. And when he began making the \u003cem>LOVE\u003c/em> paintings in 1965, his father died. So the red and green of the [MoMA] \u003cem>LOVE\u003c/em> painting, silhouetted against the blue Indiana sky, is in memoriam of his father.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998879278652682240"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>As Indiana told NPR in the same 2014 report, “Everything is relating to my own life.”\u003c/p>\n\u003cfigure id=\"attachment_13833138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg\" alt='A Robert Indiana installation of \"AMOR\" on exhibit in Piazza della Scala in Milan, Italy, in 2008' width=\"800\" height=\"450\" class=\"size-medium wp-image-13833138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-82194663_wide-2bb774874190745321790da7bc17a1d7e3bb6845-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Robert Indiana installation of “AMOR” on exhibit in Piazza della Scala in Milan, Italy, in 2008 \u003ccite>(Vittorio Zunino Celotto/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That message now stands in cities around the world, from New York City and Philadelphia — home of the famous LOVE Park — to Tokyo and Singapore. In some cases, \u003cem>LOVE\u003c/em> remains in its original form. It’s also been translated into Spanish, Hebrew and other languages.\u003c/p>\n\u003cp>Other works by Indiana serve as reminders of his mother – particularly the one-word piece \u003cem>HUG\u003c/em>, from the early 1960s. Other paintings juxtapose the words “EAT” and “DIE.”\u003c/p>\n\u003cp>“‘Hug’ is my mother’s word for affection,” Indiana told NPR. “‘Eat’ was the last word that she said before she died.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "998732503451033600"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After his breakthrough success, Indiana was commissioned to design a hardwood basketball court for the \u003ca href=\"https://twitter.com/Bucks/status/998732503451033600\" target=\"_blank\" rel=\"noopener\">NBA’s Milwaukee Bucks,\u003c/a> featuring bright yellow paint and the arena’s nickname (the MECCA), along with two gigantic M’s.\u003c/p>\n\u003cp>But decades after creating \u003cem>LOVE\u003c/em> and other popular works, including the similarly designed \u003cem>HOPE\u003c/em>, Indiana complained that the art world had shunned him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“\u003cem>LOVE\u003c/em> bit me,” Indiana said in 2014. “It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular. And there are people who don’t like popularity. It’s much better to be exclusive and remote. That’s why I’m on an island off the coast of Maine, you see.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Artist+Robert+Indiana+Dies+At+89%3A+The+Story+Behind+%27LOVE%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833135/artist-robert-indiana-dies-at-89-the-story-behind-love",
"authors": [
"byline_arts_13833135"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_3931",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13833141",
"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": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 1656,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2513,
"relation": "eq"
},
"items": [
"arts_13833651",
"arts_13834000",
"arts_13833973",
"arts_13833800",
"arts_13833770",
"arts_13833688",
"arts_13833521",
"arts_13833507",
"arts_13833357",
"arts_13833321",
"arts_13833170",
"arts_13833135"
],
"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_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_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_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_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_1377": {
"type": "terms",
"id": "arts_1377",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1377",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1389,
"slug": "npr",
"isLoading": false,
"link": "/arts/tag/npr"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"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_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_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_4976": {
"type": "terms",
"id": "arts_4976",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4976",
"found": true
},
"relationships": {},
"featImg": null,
"name": "africa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "africa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4988,
"slug": "africa",
"isLoading": false,
"link": "/arts/tag/africa"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_2305": {
"type": "terms",
"id": "arts_2305",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2305",
"found": true
},
"relationships": {},
"featImg": null,
"name": "internet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "internet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2317,
"slug": "internet",
"isLoading": false,
"link": "/arts/tag/internet"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_888": {
"type": "terms",
"id": "arts_888",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "888",
"found": true
},
"relationships": {},
"featImg": null,
"name": "African American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "African American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 906,
"slug": "african-american",
"isLoading": false,
"link": "/arts/tag/african-american"
},
"arts_4967": {
"type": "terms",
"id": "arts_4967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "code switch",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "code switch Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4979,
"slug": "code-switch",
"isLoading": false,
"link": "/arts/tag/code-switch"
},
"arts_3038": {
"type": "terms",
"id": "arts_3038",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3038",
"found": true
},
"relationships": {},
"featImg": null,
"name": "World War II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "World War II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3050,
"slug": "world-war-ii",
"isLoading": false,
"link": "/arts/tag/world-war-ii"
},
"arts_4778": {
"type": "terms",
"id": "arts_4778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4778",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual harrassment",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual harrassment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4790,
"slug": "sexual-harrassment",
"isLoading": false,
"link": "/arts/tag/sexual-harrassment"
},
"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_2777": {
"type": "terms",
"id": "arts_2777",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2777",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harvey Weinstein",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harvey Weinstein Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2789,
"slug": "harvey-weinstein",
"isLoading": false,
"link": "/arts/tag/harvey-weinstein"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"arts_3931": {
"type": "terms",
"id": "arts_3931",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3931",
"found": true
},
"relationships": {},
"featImg": null,
"name": "love",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "love Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3943,
"slug": "love",
"isLoading": false,
"link": "/arts/tag/love"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
}
},
"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
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
