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_13830325": {
"type": "attachments",
"id": "arts_13830325",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830325",
"found": true
},
"parent": 13830324,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-526710551_wide-164c120e44b3466c770b11a131f4c221b2986daa-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524610118,
"modified": 1524610352,
"caption": "Bob Dorough performing at Joe's Pub in New York on March 9, 2014.",
"description": "Bob Dorough performing at Joe's Pub in New York on March 9, 2014.",
"title": "Bob Dorough performing at Joe's Pub in New York on March 9, 2014.",
"credit": "Kevin Yatarola/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830285": {
"type": "attachments",
"id": "arts_13830285",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830285",
"found": true
},
"parent": 13830284,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-667761256_wide-e0911dd3462917d98965592303aa78cd99da7762-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524597204,
"modified": 1524597204,
"caption": null,
"description": "The \u003cem>Fearless Girl\u003c/em> statue stands facing \u003cem>Charging Bull\u003c/em> as tourists take pictures in New York on April 12, 201",
"title": "The Fearless Girl statue stands facing Charging Bull as tourists take pictures in New York on April 12, 2017.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830251": {
"type": "attachments",
"id": "arts_13830251",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830251",
"found": true
},
"parent": 13830250,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45.jpg",
"width": 1118,
"height": 629
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/winner_is_v01_wide-d57a1a7111c86ed312ba614c9748d4649d1a0b45-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524580421,
"modified": 1524580421,
"caption": null,
"description": "Drumroll, please!",
"title": "Drumroll, please!",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830175": {
"type": "attachments",
"id": "arts_13830175",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830175",
"found": true
},
"parent": 13830174,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-520x520.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 520
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-160x160.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 160
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-960x960.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 960
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-375x375.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 375
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead.jpg",
"width": 2000,
"height": 2000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-1020x1020.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 1020
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-1180x1180.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1180
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-1200x1200.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 1200
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-800x800.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 800
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-1920x1920.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1920
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-1180x1180.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1180
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-1920x1920.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1920
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-768x768.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 768
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/muluneh_the-departure_custom-824f36f3e74e36d83668959ae5e2d5cc82b8dead-240x240.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 240
}
},
"publishDate": 1524506467,
"modified": 1524507060,
"caption": "\"The Departure\" from Aïda Muluneh's \"The World is 9\" collection. The title comes from a saying of Muluneh's grandmother â meaning that the world will never be a perfect 10.",
"description": "\"The Departure\" from Aïda Muluneh's \"The World is 9\" collection. The title comes from a saying of Muluneh's grandmother â meaning that the world will never be a perfec",
"title": "\"The Departure\" from Aïda Muluneh's \"The World is 9\" collection. The title comes from a saying of Muluneh's grandmother â meaning that the world will never be a perfect 10.",
"credit": "Aïda Muluneh",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830038": {
"type": "attachments",
"id": "arts_13830038",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830038",
"found": true
},
"parent": 13830037,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca.jpg",
"width": 998,
"height": 561
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/the-devil-and-father-amorth-review_wide-f325101354806e66b2a7b3657fab3f7954135bca-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524248496,
"modified": 1524248732,
"caption": "Father Gabriele Amorth is the subject of William Friedkin's oddly slapdash documentary, 'The Devil and Father Amorth.'",
"description": "Father Gabriele Amorth is the subject of William Friedkin's oddly slapdash documentary, 'The Devil and Father Amorth.'",
"title": "Father Gabriele Amorth is the subject of William Friedkin's oddly slapdash documentary, The Devil and Father Amorth.",
"credit": "William Friedkin",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830066": {
"type": "attachments",
"id": "arts_13830066",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830066",
"found": true
},
"parent": 13830063,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-520x349.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 349
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-960x644.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 644
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-375x252.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 252
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974.jpg",
"width": 1080,
"height": 725
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-1020x685.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 685
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-800x537.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 537
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-768x516.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 516
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/GettyImages-182612974-240x161.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 161
}
},
"publishDate": 1524264758,
"modified": 1524264776,
"caption": "Photo by Mike Lawrie/Getty Images",
"description": null,
"title": "GettyImages-182612974",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829948": {
"type": "attachments",
"id": "arts_13829948",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829948",
"found": true
},
"parent": 13829947,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-163868336-4abcf75936d5f924bf4439f9cfb3f627a6cf4ca4-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1524165833,
"modified": 1524166558,
"caption": "Prince performs live at SXSW in 2013.",
"description": "Prince performs live at SXSW in 2013.",
"title": "Prince performs live at SXSW in 2013.",
"credit": "John Sciulli/Getty Images for Samsung",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829931": {
"type": "attachments",
"id": "arts_13829931",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829931",
"found": true
},
"parent": 13829930,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75.jpg",
"width": 1497,
"height": 842
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/folsom-4_wide-9187803d8d1ab8d127c629b6c3269fe577dfdc75-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524162843,
"modified": 1524163274,
"caption": "Vocalist and accordion player Jorge Hernández engages the crowd of inmates in the main yard of Folsom State Prison",
"description": "Vocalist and accordion player Jorge Hernández engages the crowd of inmates in the main yard of Folsom State Priso",
"title": "Vocalist and accordion player Jorge Hernández engages the crowd of inmates in the main yard of Folsom State Prison.",
"credit": "Lance Dawes/Courtesy of Los Tigres del Norte",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829667": {
"type": "attachments",
"id": "arts_13829667",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829667",
"found": true
},
"parent": 13829632,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-520x194.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 194
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-160x60.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 60
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-672x298.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 298
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-375x140.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 140
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell.jpg",
"width": 800,
"height": 298
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-800x298.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 298
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-768x286.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 286
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/career_KAsell-240x89.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 89
}
},
"publishDate": 1523996272,
"modified": 1523996327,
"caption": "Kasell began practicing his newscaster voice as a child and got his first on-air job at 16. He went on to anchor NPR's newscasts for more than 30 years and later served as judge and scorekeeper for the news quiz show 'Wait Wait... Don't Tell Me!'",
"description": "Kasell began practicing his newscaster voice as a child and got his first on-air job at 16. He went on to anchor NPR's newscasts for more than 30 years and later served as judge and scorekeeper for the news quiz show 'Wait Wait... Don't Tell Me!'",
"title": "career_KAsell",
"credit": "(Left) Courtesy Carl Kasell; (right) Chip Somodevilla/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829540": {
"type": "attachments",
"id": "arts_13829540",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829540",
"found": true
},
"parent": 13829539,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09.jpg",
"width": 2048,
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1200x799.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 799
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1523917797,
"modified": 1652465023,
"caption": "Kendrick Lamar live in London in 2018.",
"description": "Kendrick Lamar, whose album DAMN. won this year's Pulitzer Prize for music, performs in London earlier this year.",
"title": "Kendrick Lamar, whose album DAMN. won this year's Pulitzer Prize for music, performs in London earlier this year.",
"credit": "Daniel Leal-Olivas/AFP/Getty Images",
"status": "inherit",
"altTag": "Kendrick Lamar, whose album DAMN. won this year's Pulitzer Prize for music, performs in London earlier this year.",
"isLoading": false,
"fetchFailed": false
},
"arts_13829485": {
"type": "attachments",
"id": "arts_13829485",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829485",
"found": true
},
"parent": 13829484,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-92310937_wide-630908bc5f4bb34d20cb74918b4de7d5f4d7942c-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523833779,
"modified": 1523835114,
"caption": "Milos Forman at the International Rome Film Festival in Rome in 2009. He died at age 86 in Connecticut.",
"description": "Milos Forman at the International Rome Film Festival in Rome in 2009. He died at age 86 in Connecticut.",
"title": "Milos Forman at the International Rome Film Festival in Rome in 2009. He died at age 86 in Connecticut.",
"credit": "Ernesto S. Ruscio/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829350": {
"type": "attachments",
"id": "arts_13829350",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829350",
"found": true
},
"parent": 13829349,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-78057919-7f095680cc608dc4d20b88233e28bbca01c6706a-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1523644388,
"modified": 1523648872,
"caption": "Brooklyn Museum, New York City",
"description": "Brooklyn Museum, New York City",
"title": "Brooklyn Museum, New York City",
"credit": "Jupiterimages/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_13830324": {
"type": "authors",
"id": "byline_arts_13830324",
"meta": {
"override": true
},
"slug": "byline_arts_13830324",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_13830284": {
"type": "authors",
"id": "byline_arts_13830284",
"meta": {
"override": true
},
"slug": "byline_arts_13830284",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_13830250": {
"type": "authors",
"id": "byline_arts_13830250",
"meta": {
"override": true
},
"slug": "byline_arts_13830250",
"name": "Bob Boilen",
"isLoading": false
},
"byline_arts_13830174": {
"type": "authors",
"id": "byline_arts_13830174",
"meta": {
"override": true
},
"slug": "byline_arts_13830174",
"name": "Natalie Jacewicz",
"isLoading": false
},
"byline_arts_13830037": {
"type": "authors",
"id": "byline_arts_13830037",
"meta": {
"override": true
},
"slug": "byline_arts_13830037",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_13830063": {
"type": "authors",
"id": "byline_arts_13830063",
"meta": {
"override": true
},
"slug": "byline_arts_13830063",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_13829947": {
"type": "authors",
"id": "byline_arts_13829947",
"meta": {
"override": true
},
"slug": "byline_arts_13829947",
"name": "Stephen Thompson",
"isLoading": false
},
"byline_arts_13829930": {
"type": "authors",
"id": "byline_arts_13829930",
"meta": {
"override": true
},
"slug": "byline_arts_13829930",
"name": "Felix Contreras",
"isLoading": false
},
"byline_arts_13829632": {
"type": "authors",
"id": "byline_arts_13829632",
"meta": {
"override": true
},
"slug": "byline_arts_13829632",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13829539": {
"type": "authors",
"id": "byline_arts_13829539",
"meta": {
"override": true
},
"slug": "byline_arts_13829539",
"name": "Colin Dwyer",
"isLoading": false
},
"byline_arts_13829484": {
"type": "authors",
"id": "byline_arts_13829484",
"meta": {
"override": true
},
"slug": "byline_arts_13829484",
"name": "James Doubek",
"isLoading": false
},
"byline_arts_13829349": {
"type": "authors",
"id": "byline_arts_13829349",
"meta": {
"override": true
},
"slug": "byline_arts_13829349",
"name": "Karen Grigsby Bates",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262318
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 141
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 141
}
},
{
"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_13830324": {
"type": "posts",
"id": "arts_13830324",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830324",
"score": null,
"sort": [
1524610516000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524610516,
"format": "standard",
"title": "Bob Dorough, Jazz Musician Best Known for 'Schoolhouse Rock!,' Dead at 94",
"headTitle": "Bob Dorough, Jazz Musician Best Known for ‘Schoolhouse Rock!,’ Dead at 94 | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Updated at 12:33 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Bob Dorough, whose career began as a composer, arranger and singer in the booming New York jazz scene of the ’50s and ’60s before he became the musical keystone of \u003cem>Schoolhouse Rock!\u003c/em>, died Monday afternoon in Mt. Bethel, Penn., his wife, Sally Shanley Dorough, confirmed to NPR. He was 94.\u003c/p>\n\u003cp>The Arkansas-born, Texas-raised Dorough began working in music in the army, serving as a composer, arranger and player in the Special Services Army Band between 1943 and ’45, before getting a Bachelor of Music degree from the University of North Texas. In the late ’40s, Dorough made his way to New York, working there as a pianist and singer.\u003c/p>\n\u003cp>He released his debut album, \u003cem>Devil May Care\u003c/em>, in 1956 on Gus Wildi’s Bethlehem label, also home to Nina Simone’s first album. \u003cem>Devil May Care\u003c/em> was a document of loungey bebop, with Dorough’s windy, charming and idiosyncratically accented singing of buoyant lyrics that hinted at his success to come. “In a dream / the strangest and oddest things / appear / and what insane insane and silly things / we do,” he sang on “I Had the Craziest Dream.”\u003c/p>\n\u003cp>Not long after the release of \u003cem>Devil May Care\u003c/em>, the legendary Miles Davis recorded \u003ca href=\"https://open.spotify.com/track/31YlcTTs1XGGz2VCjD4JQ6?si=tvSQgQwpTvaOGPM5HkbOyw\" target=\"_blank\" rel=\"noopener\">his own interpretation\u003c/a> of its title track, which would go on to become a jazz standard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LdZTKvNXxPA\u003c/p>\n\u003cp>Dorough collaborated with Davis on the serrated holiday song “Blue Xmas (To Whom It May Concern)” and later sang on “Nothing Like You,” the closing track of Davis’ 1967 album \u003cem>Sorcerer. \u003c/em>As critic Ben Ratliff \u003ca href=\"http://www.vinylmeplease.com/magazine/sorcerer-liner-notes/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> in notes accompanying a vinyl reissue of \u003cem>Sorcerer\u003c/em> last fall: “The trumpeter Leron Thomas recently told me that he thinks of it as Miles’s version of a Looney Tunes move: ‘That’s All, Folks.’ ”\u003c/p>\n\u003cp>Then, in 1971, with the jazz money running thin, Dorough was asked by his boss at the advertising company where he had a day job to set the multiplication tables to music; his boss cited his children’s ability to remember Hendrix and Rolling Stones lyrics, but not their school lessons.\u003c/p>\n\u003cp>“I got the idea that three is a magic number,” Dorough told NPR’s Rachel Martin \u003ca href=\"https://www.npr.org/2013/01/06/168699556/the-voice-of-schoolhouse-rock-on-the-series-at-40\" target=\"_blank\" rel=\"noopener\">in 2013\u003c/a>. “Then I looked in the magic book and sure enough, three \u003cem>is\u003c/em> one of the magic numbers.” That concept became the song “Three Is a Magic Number” and the project would become the Grammy-nominated \u003cem>Multiplication Rock\u003c/em>. Originally intended as a school workbook, the concept was pitched and sold to ABC executive Michael Eisner, becoming the first of the long-running \u003cem>Schoolhouse Rock! \u003c/em>series of educational cartoons that became an all-but inseparable part of of ’70s and ’80s childhood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2cjiP1mh48\u003c/p>\n\u003cp>After the fully Dorough-penned \u003cem>Multiplication Rock\u003c/em>, the series’ contributors expanded to include Lynn Ahrens, Dave Frishberg (writer of “I’m Just a Bill”) and George Newall, with Dorough staying on as musical director. Expanding to cover grammar — Dorough’s least-favorite subject to pen music on — American politics and history and science, the initial series ran for 12 years and was revived in the ’90s.\u003c/p>\n\u003cp>The tribute album \u003cem>Schoolhouse Rock! Rocks\u003c/em>, recorded by indie artists that had no doubt grown up watching the series, was released in 1996. It featured reinterpretations of the now-famous tunes, including Dorough compositions “Conjunction Junction” (Better Than Ezra), “Three Is a Magic Number” (Blind Melon), “Electricity, Electricity” (Goodness) and “Lolly, Lolly, Lolly, Get Your Adverbs Here” (Buffalo Tom).\u003c/p>\n\u003cp>Later in life, Dorough became a mentor to the British-American singer, actress and comedian Nellie McKay, whom he first met in 1997, McKay tells NPR. “He was leaving Professor Pat Dorian’s office at East Stroudsburg University — even in an academic setting, he glowed with health and good cheer, spreading sunshine wherever he went,” McKay says. “Lou Reed’s idea of hell would be to sit in heaven with Bob Dorough,” McKay says, referencing the famously cantankerous New York rocker.\u003c/p>\n\u003cp>Dorough himself continued to play live for the rest of his life — at 92, Dorough performed “Devil May Care” for member station WBGO — and as recently as three weeks ago in upstate New York. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n7kKSSjGJZ8\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=Bob+Dorough%2C+Jazz+Musician+Best+Known+For+%27Schoolhouse+Rock%21%2C%27+Dead+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 779,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705028016,
"excerpt": "Dorough spent two decades as a jazz player, singer, conductor and arranger in New York before being approached, at his advertising day job, to explain math to children via music.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Dorough spent two decades as a jazz player, singer, conductor and arranger in New York before being approached, at his advertising day job, to explain math to children via music.",
"title": "Bob Dorough, Jazz Musician Best Known for 'Schoolhouse Rock!,' Dead at 94 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bob Dorough, Jazz Musician Best Known for 'Schoolhouse Rock!,' Dead at 94",
"datePublished": "2018-04-24T15:55:16-07:00",
"dateModified": "2024-01-11T18:53:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bob-dorough-jazz-musician-best-known-for-schoolhouse-rock-dead-at-94",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=605232291&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Tue, 24 Apr 2018 11:07:00 -0400",
"nprLastModifiedDate": "Tue, 24 Apr 2018 14:22:15 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/04/24/605232291/bob-dorough-jazz-musician-best-known-for-schoolhouse-rock-dead-at-94?ft=nprml&f=605232291",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Kevin Yatarola",
"nprStoryId": "605232291",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 24 Apr 2018 14:22:00 -0400",
"path": "/arts/13830324/bob-dorough-jazz-musician-best-known-for-schoolhouse-rock-dead-at-94",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated at 12:33 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Bob Dorough, whose career began as a composer, arranger and singer in the booming New York jazz scene of the ’50s and ’60s before he became the musical keystone of \u003cem>Schoolhouse Rock!\u003c/em>, died Monday afternoon in Mt. Bethel, Penn., his wife, Sally Shanley Dorough, confirmed to NPR. He was 94.\u003c/p>\n\u003cp>The Arkansas-born, Texas-raised Dorough began working in music in the army, serving as a composer, arranger and player in the Special Services Army Band between 1943 and ’45, before getting a Bachelor of Music degree from the University of North Texas. In the late ’40s, Dorough made his way to New York, working there as a pianist and singer.\u003c/p>\n\u003cp>He released his debut album, \u003cem>Devil May Care\u003c/em>, in 1956 on Gus Wildi’s Bethlehem label, also home to Nina Simone’s first album. \u003cem>Devil May Care\u003c/em> was a document of loungey bebop, with Dorough’s windy, charming and idiosyncratically accented singing of buoyant lyrics that hinted at his success to come. “In a dream / the strangest and oddest things / appear / and what insane insane and silly things / we do,” he sang on “I Had the Craziest Dream.”\u003c/p>\n\u003cp>Not long after the release of \u003cem>Devil May Care\u003c/em>, the legendary Miles Davis recorded \u003ca href=\"https://open.spotify.com/track/31YlcTTs1XGGz2VCjD4JQ6?si=tvSQgQwpTvaOGPM5HkbOyw\" target=\"_blank\" rel=\"noopener\">his own interpretation\u003c/a> of its title track, which would go on to become a jazz standard.\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>\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/LdZTKvNXxPA'\n title='//www.youtube.com/embed/LdZTKvNXxPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dorough collaborated with Davis on the serrated holiday song “Blue Xmas (To Whom It May Concern)” and later sang on “Nothing Like You,” the closing track of Davis’ 1967 album \u003cem>Sorcerer. \u003c/em>As critic Ben Ratliff \u003ca href=\"http://www.vinylmeplease.com/magazine/sorcerer-liner-notes/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> in notes accompanying a vinyl reissue of \u003cem>Sorcerer\u003c/em> last fall: “The trumpeter Leron Thomas recently told me that he thinks of it as Miles’s version of a Looney Tunes move: ‘That’s All, Folks.’ ”\u003c/p>\n\u003cp>Then, in 1971, with the jazz money running thin, Dorough was asked by his boss at the advertising company where he had a day job to set the multiplication tables to music; his boss cited his children’s ability to remember Hendrix and Rolling Stones lyrics, but not their school lessons.\u003c/p>\n\u003cp>“I got the idea that three is a magic number,” Dorough told NPR’s Rachel Martin \u003ca href=\"https://www.npr.org/2013/01/06/168699556/the-voice-of-schoolhouse-rock-on-the-series-at-40\" target=\"_blank\" rel=\"noopener\">in 2013\u003c/a>. “Then I looked in the magic book and sure enough, three \u003cem>is\u003c/em> one of the magic numbers.” That concept became the song “Three Is a Magic Number” and the project would become the Grammy-nominated \u003cem>Multiplication Rock\u003c/em>. Originally intended as a school workbook, the concept was pitched and sold to ABC executive Michael Eisner, becoming the first of the long-running \u003cem>Schoolhouse Rock! \u003c/em>series of educational cartoons that became an all-but inseparable part of of ’70s and ’80s childhood.\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/n2cjiP1mh48'\n title='//www.youtube.com/embed/n2cjiP1mh48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the fully Dorough-penned \u003cem>Multiplication Rock\u003c/em>, the series’ contributors expanded to include Lynn Ahrens, Dave Frishberg (writer of “I’m Just a Bill”) and George Newall, with Dorough staying on as musical director. Expanding to cover grammar — Dorough’s least-favorite subject to pen music on — American politics and history and science, the initial series ran for 12 years and was revived in the ’90s.\u003c/p>\n\u003cp>The tribute album \u003cem>Schoolhouse Rock! Rocks\u003c/em>, recorded by indie artists that had no doubt grown up watching the series, was released in 1996. It featured reinterpretations of the now-famous tunes, including Dorough compositions “Conjunction Junction” (Better Than Ezra), “Three Is a Magic Number” (Blind Melon), “Electricity, Electricity” (Goodness) and “Lolly, Lolly, Lolly, Get Your Adverbs Here” (Buffalo Tom).\u003c/p>\n\u003cp>Later in life, Dorough became a mentor to the British-American singer, actress and comedian Nellie McKay, whom he first met in 1997, McKay tells NPR. “He was leaving Professor Pat Dorian’s office at East Stroudsburg University — even in an academic setting, he glowed with health and good cheer, spreading sunshine wherever he went,” McKay says. “Lou Reed’s idea of hell would be to sit in heaven with Bob Dorough,” McKay says, referencing the famously cantankerous New York rocker.\u003c/p>\n\u003cp>Dorough himself continued to play live for the rest of his life — at 92, Dorough performed “Devil May Care” for member station WBGO — and as recently as three weeks ago in upstate New York. \u003c/p>\n\u003cp>\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/n7kKSSjGJZ8'\n title='//www.youtube.com/embed/n7kKSSjGJZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Bob+Dorough%2C+Jazz+Musician+Best+Known+For+%27Schoolhouse+Rock%21%2C%27+Dead+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830324/bob-dorough-jazz-musician-best-known-for-schoolhouse-rock-dead-at-94",
"authors": [
"byline_arts_13830324"
],
"categories": [
"arts_69",
"arts_235",
"arts_990"
],
"tags": [
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13830325",
"label": "arts_137"
},
"arts_13830284": {
"type": "posts",
"id": "arts_13830284",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830284",
"score": null,
"sort": [
1524597782000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524597782,
"format": "standard",
"title": "'Fearless Girl' Statue Will Face Down Stock Exchange, Not 'Charging Bull'",
"headTitle": "‘Fearless Girl’ Statue Will Face Down Stock Exchange, Not ‘Charging Bull’ | KQED",
"content": "\u003cp>The \u003cem>Fearless Girl\u003c/em> statue, which has stared down the Manhattan financial district’s famous \u003cem>Charging Bull \u003c/em>for more than a year, will be relocating to a spot in front of the New York Stock Exchange.\u003c/p>\n\u003cp>The statue was installed near Wall Street in 2017 in honor of International Women’s Day, and only had a temporary permit. But now it will remain in New York City permanently, at the new location just around the corner.\u003c/p>\n\u003cp>The move is expected to be completed by the end of 2018, according to a \u003ca href=\"https://www.businesswire.com/news/home/20180419005784/en/New-York-City-Mayor-State-Street-Global\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from New York Mayor Bill de Blasio and State Street Global Advisors, the financial services company that commissioned the statue.\u003c/p>\n\u003cp>“We are proud to be home to the Fearless Girl. She is a potent symbol of the need for change at the highest levels of corporate America—and she will become a durable part of our city’s civic life,” de Blasio said in the statement.\u003c/p>\n\u003cp>The statue by Kristen Visbal was originally installed to draw attention to the need for more female representation on the boards of publicly traded companies. But State Street, the firm that installed the statue, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\" target=\"_blank\" rel=\"noopener\">made headlines\u003c/a> later in 2017 after an investigation found that the firm had underpaid women and black executives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>State Street paid $5 million in a settlement with the Department of Labor, while saying it “disagreed with” the investigation’s findings.\u003c/p>\n\u003cp>That’s not the only controversy \u003cem>Fearless Girl \u003c/em>has weathered. (And we’re not just talking about the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\" target=\"_blank\" rel=\"noopener\">cheeky dog statue\u003c/a> that was briefly placed as though it were urinating on the girl.)\u003c/p>\n\u003cp>Some critics, \u003ca href=\"https://www.npr.org/2017/03/31/522232646/fearless-girl-will-keep-facing-down-wall-streets-bull\" target=\"_blank\" rel=\"noopener\">as NPR’s Rose Friedman has reported\u003c/a>, objected to the idea of depicting American womanhood in the form of a young girl — seeing it as patronizing, rather than progressive.\u003c/p>\n\u003cp>And the sculptor of \u003cem>Charging Bull \u003c/em>was affronted by the addition of the new statue, saying it changed the meaning of his original — making the bull not a symbol of strength, but an ominous villain. He also called the statue an “advertising trick.”\u003c/p>\n\u003cp>Arturo Di Modica installed his \u003cem>Charging Bull \u003c/em>sculpture in the financial district in the late 1980s, putting the large statue in place overnight, without a permit.\u003c/p>\n\u003cp>The bull is now located in Bowling Green Park on Broadway, where the \u003cem>Fearless Girl \u003c/em>is currently facing him down.\u003c/p>\n\u003cp>But that wasn’t the bull’s first stomping ground. It was first placed on Broad Street, in front of the New York Stock Exchange, which promptly had the statue removed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As it happens, that’s the spot where the \u003cem>Fearless Girl \u003c/em>is headed next. \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=%27Fearless+Girl%27+Statue+Will+Face+Down+Stock+Exchange%2C+Not+%27Charging+Bull%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 461,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705028022,
"excerpt": "The statue — installed in 2017, on a temporary basis, to honor International Women's Day — will stay in New York City permanently. But it will relocate, shifting around the corner from the bull.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The statue — installed in 2017, on a temporary basis, to honor International Women's Day — will stay in New York City permanently. But it will relocate, shifting around the corner from the bull.",
"title": "'Fearless Girl' Statue Will Face Down Stock Exchange, Not 'Charging Bull' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Fearless Girl' Statue Will Face Down Stock Exchange, Not 'Charging Bull'",
"datePublished": "2018-04-24T12:23:02-07:00",
"dateModified": "2024-01-11T18:53:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fearless-girl-statue-will-face-down-stock-exchange-not-charging-bull",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=603968477&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Camila Domonoske",
"nprStoryDate": "Thu, 19 Apr 2018 14:26:12 -0400",
"nprLastModifiedDate": "Thu, 19 Apr 2018 14:26:12 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/04/19/603968477/fearless-girl-statue-will-face-down-stock-exchange-not-charging-bull?ft=nprml&f=603968477",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Jewel Samad",
"nprStoryId": "603968477",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 Apr 2018 14:26:00 -0400",
"path": "/arts/13830284/fearless-girl-statue-will-face-down-stock-exchange-not-charging-bull",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Fearless Girl\u003c/em> statue, which has stared down the Manhattan financial district’s famous \u003cem>Charging Bull \u003c/em>for more than a year, will be relocating to a spot in front of the New York Stock Exchange.\u003c/p>\n\u003cp>The statue was installed near Wall Street in 2017 in honor of International Women’s Day, and only had a temporary permit. But now it will remain in New York City permanently, at the new location just around the corner.\u003c/p>\n\u003cp>The move is expected to be completed by the end of 2018, according to a \u003ca href=\"https://www.businesswire.com/news/home/20180419005784/en/New-York-City-Mayor-State-Street-Global\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from New York Mayor Bill de Blasio and State Street Global Advisors, the financial services company that commissioned the statue.\u003c/p>\n\u003cp>“We are proud to be home to the Fearless Girl. She is a potent symbol of the need for change at the highest levels of corporate America—and she will become a durable part of our city’s civic life,” de Blasio said in the statement.\u003c/p>\n\u003cp>The statue by Kristen Visbal was originally installed to draw attention to the need for more female representation on the boards of publicly traded companies. But State Street, the firm that installed the statue, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\" target=\"_blank\" rel=\"noopener\">made headlines\u003c/a> later in 2017 after an investigation found that the firm had underpaid women and black executives.\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>State Street paid $5 million in a settlement with the Department of Labor, while saying it “disagreed with” the investigation’s findings.\u003c/p>\n\u003cp>That’s not the only controversy \u003cem>Fearless Girl \u003c/em>has weathered. (And we’re not just talking about the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\" target=\"_blank\" rel=\"noopener\">cheeky dog statue\u003c/a> that was briefly placed as though it were urinating on the girl.)\u003c/p>\n\u003cp>Some critics, \u003ca href=\"https://www.npr.org/2017/03/31/522232646/fearless-girl-will-keep-facing-down-wall-streets-bull\" target=\"_blank\" rel=\"noopener\">as NPR’s Rose Friedman has reported\u003c/a>, objected to the idea of depicting American womanhood in the form of a young girl — seeing it as patronizing, rather than progressive.\u003c/p>\n\u003cp>And the sculptor of \u003cem>Charging Bull \u003c/em>was affronted by the addition of the new statue, saying it changed the meaning of his original — making the bull not a symbol of strength, but an ominous villain. He also called the statue an “advertising trick.”\u003c/p>\n\u003cp>Arturo Di Modica installed his \u003cem>Charging Bull \u003c/em>sculpture in the financial district in the late 1980s, putting the large statue in place overnight, without a permit.\u003c/p>\n\u003cp>The bull is now located in Bowling Green Park on Broadway, where the \u003cem>Fearless Girl \u003c/em>is currently facing him down.\u003c/p>\n\u003cp>But that wasn’t the bull’s first stomping ground. It was first placed on Broad Street, in front of the New York Stock Exchange, which promptly had the statue removed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As it happens, that’s the spot where the \u003cem>Fearless Girl \u003c/em>is headed next. \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=%27Fearless+Girl%27+Statue+Will+Face+Down+Stock+Exchange%2C+Not+%27Charging+Bull%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830284/fearless-girl-statue-will-face-down-stock-exchange-not-charging-bull",
"authors": [
"byline_arts_13830284"
],
"categories": [
"arts_235",
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13830285",
"label": "arts_137"
},
"arts_13830250": {
"type": "posts",
"id": "arts_13830250",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830250",
"score": null,
"sort": [
1524581081000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524581081,
"format": "video",
"title": "Announcing The 2018 Tiny Desk Contest Winner",
"headTitle": "Announcing The 2018 Tiny Desk Contest Winner | KQED",
"content": "\u003cp>https://youtu.be/nk8HEO_60ms\u003c/p>\n\u003cp>Nearly 5,000 entries from all 50 states and we had to pick just one! The competition rose to a new level this year and the decision was harder than ever. Our judges looked at a vast array of music from every genre — and lots of music that couldn’t be categorized. The creative community these days is bursting, and the diversity of sounds and people who sent us entries made for many magical “wow” moments.\u003c/p>\n\u003cp>So, when it came time to pick a winner, we have to admit: It was tough. We debated, deliberated, championed and celebrated the entries that impressed us. In the end, it was a soft-spoken, soulful guitarist who captured our hearts. We’re proud to announce this year’s Tiny Desk Contest winner is Naia Izumi!\u003c/p>\n\u003cp>Naia is a 34-year-old musician from Georgia who regularly busks on the streets of Los Angeles, where he now lives. He impressed the judges with his intricate, complex guitar playing and his sweet, emotive voice. The video he submitted for “Soft Spoken,” recorded in the home studio he has built in his garage, showcases the incredible skillfulness and gentle spirit he brings to his music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/people/497701550/talia-schlanger\">Talia Schlanger\u003c/a>, host of WXPN’s \u003cem>World Cafe\u003c/em>, said it this way: “The fact that Naia Izumi’s solo performance captivated the judging panel, out of a sea of big bands and flashy videos, says something powerful about what a singular talent we have on our hands. Naia’s remarkable creativity on the guitar, solid songwriting and gentle yet powerful charisma make me proud to root for him as our winner!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/97823646/gaby-moreno\">Gaby Moreno\u003c/a>, another of our Tiny Desk Contest judges, agrees, calling Naia an “undeniable talent.”\u003c/p>\n\u003cp>“I was captivated by Naia’s soulful voice, and the way he takes the unique approach to his virtuosic level of talent on guitar,” she says.\u003c/p>\n\u003cp>In the fourth year of the Contest, we were simply overwhelmed by the energy, spirit and enthusiasm artists brought to their entry videos. And though there’s only one winner, what makes this Contest special is the way it gathers a community of artists, fans and friends together around a shared love of music. We’re so grateful to everyone who shared a song, a story or a moment with us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of this year’s Tiny Desk Contest doesn’t end now that we’ve picked a winner, of course. Next, Naia will come to Washington, D.C. to play his very own Tiny Desk concert. Then, we’ll head out on the road with Lagunitas Brewing Company for a national tour featuring Naia and local Contest entrants we loved. Stay tuned for dates and more information. We’re looking forward to seeing you in person. I’ll be spending some time celebrating the newest member of the Tiny Desk Contest family, and getting lost down the rabbit hole of all sorts of \u003ca href=\"http://tinydeskcontest.npr.org/browse-2018\">amazing entries\u003c/a> to this year’s Contest. I hope this Contest has brought you the joy of discovery like it has done for me.\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=Announcing+The+2018+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 554,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705028025,
"excerpt": "After receiving nearly 5,000 entries this year, we have a winner! Meet the virtuosic talent who won over this year's panel of judges.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After receiving nearly 5,000 entries this year, we have a winner! Meet the virtuosic talent who won over this year's panel of judges.",
"title": "Announcing The 2018 Tiny Desk Contest Winner | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Announcing The 2018 Tiny Desk Contest Winner",
"datePublished": "2018-04-24T07:44:41-07:00",
"dateModified": "2024-01-11T18:53:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "announcing-the-2018-tiny-desk-contest-winner",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=604937775&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Boilen",
"nprStoryDate": "Tue, 24 Apr 2018 05:47:00 -0400",
"nprLastModifiedDate": "Tue, 24 Apr 2018 07:16:21 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2018/04/24/604937775/announcing-the-2018-tiny-desk-contest-winner?ft=nprml&f=604937775",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/04/20180424_me_announcing_the_2018_tiny_desk_contest_winner.mp3?orgId=1&topicId=1039&d=210&p=3&story=604937775&ft=nprml&f=604937775",
"nprImageAgency": "NPR",
"nprAudioM3u": "http://api.npr.org/m3u/1605176200-4fed8d.m3u?orgId=1&topicId=1039&d=210&p=3&story=604937775&ft=nprml&f=604937775",
"nprStoryId": "604937775",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 24 Apr 2018 08:01:00 -0400",
"path": "/arts/13830250/announcing-the-2018-tiny-desk-contest-winner",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/04/20180424_me_announcing_the_2018_tiny_desk_contest_winner.mp3?orgId=1&topicId=1039&d=210&p=3&story=604937775&ft=nprml&f=604937775",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nk8HEO_60ms'\n title='//www.youtube.com/embed/nk8HEO_60ms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nearly 5,000 entries from all 50 states and we had to pick just one! The competition rose to a new level this year and the decision was harder than ever. Our judges looked at a vast array of music from every genre — and lots of music that couldn’t be categorized. The creative community these days is bursting, and the diversity of sounds and people who sent us entries made for many magical “wow” moments.\u003c/p>\n\u003cp>So, when it came time to pick a winner, we have to admit: It was tough. We debated, deliberated, championed and celebrated the entries that impressed us. In the end, it was a soft-spoken, soulful guitarist who captured our hearts. We’re proud to announce this year’s Tiny Desk Contest winner is Naia Izumi!\u003c/p>\n\u003cp>Naia is a 34-year-old musician from Georgia who regularly busks on the streets of Los Angeles, where he now lives. He impressed the judges with his intricate, complex guitar playing and his sweet, emotive voice. The video he submitted for “Soft Spoken,” recorded in the home studio he has built in his garage, showcases the incredible skillfulness and gentle spirit he brings to his music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/people/497701550/talia-schlanger\">Talia Schlanger\u003c/a>, host of WXPN’s \u003cem>World Cafe\u003c/em>, said it this way: “The fact that Naia Izumi’s solo performance captivated the judging panel, out of a sea of big bands and flashy videos, says something powerful about what a singular talent we have on our hands. Naia’s remarkable creativity on the guitar, solid songwriting and gentle yet powerful charisma make me proud to root for him as our winner!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/97823646/gaby-moreno\">Gaby Moreno\u003c/a>, another of our Tiny Desk Contest judges, agrees, calling Naia an “undeniable talent.”\u003c/p>\n\u003cp>“I was captivated by Naia’s soulful voice, and the way he takes the unique approach to his virtuosic level of talent on guitar,” she says.\u003c/p>\n\u003cp>In the fourth year of the Contest, we were simply overwhelmed by the energy, spirit and enthusiasm artists brought to their entry videos. And though there’s only one winner, what makes this Contest special is the way it gathers a community of artists, fans and friends together around a shared love of music. We’re so grateful to everyone who shared a song, a story or a moment with us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of this year’s Tiny Desk Contest doesn’t end now that we’ve picked a winner, of course. Next, Naia will come to Washington, D.C. to play his very own Tiny Desk concert. Then, we’ll head out on the road with Lagunitas Brewing Company for a national tour featuring Naia and local Contest entrants we loved. Stay tuned for dates and more information. We’re looking forward to seeing you in person. I’ll be spending some time celebrating the newest member of the Tiny Desk Contest family, and getting lost down the rabbit hole of all sorts of \u003ca href=\"http://tinydeskcontest.npr.org/browse-2018\">amazing entries\u003c/a> to this year’s Contest. I hope this Contest has brought you the joy of discovery like it has done for me.\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=Announcing+The+2018+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830250/announcing-the-2018-tiny-desk-contest-winner",
"authors": [
"byline_arts_13830250"
],
"categories": [
"arts_69"
],
"tags": [
"arts_10589",
"arts_820",
"arts_1118",
"arts_1377",
"arts_4591",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13830251",
"label": "arts_137"
},
"arts_13830174": {
"type": "posts",
"id": "arts_13830174",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830174",
"score": null,
"sort": [
1524509313000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524509313,
"format": "standard",
"title": "With Paint and a Camera, She's Forging a New Artistic Vision of Africa",
"headTitle": "With Paint and a Camera, She’s Forging a New Artistic Vision of Africa | KQED",
"content": "\u003cp>Many images of Africa in Western media focus on war, famine or other crises that trouble the continent.\u003c/p>\n\u003cp>But Ethiopian artist \u003ca href=\"https://www.aidamuluneh.com/bio/\">Aïda Muluneh\u003c/a> wants to help people understand that there’s more to her country than what they typically see in the news.\u003c/p>\n\u003cp>Born in Ethiopia in 1974, Muluneh spent much of her childhood living in different countries — Yemen, England, Cyprus and Canada — before studying film at Howard University in Washington, D.C. She graduated in 2000 and then worked as a photojournalist for The\u003cem> Washington Post\u003c/em>.\u003c/p>\n\u003cp>But Muluneh became increasingly interested in creating photography as art separate from her journalistic work — and in reconnecting with her Ethiopian heritage. So she moved back to Ethiopia 11 years ago.\u003c/p>\n\u003cp>Since then, she’s been creating bright, primary-colored portraits that both celebrate and transcend Ethiopian culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now her work is on display at the Museum of Modern Art in New York City (MoMA) as part of \u003ca href=\"https://www.moma.org/calendar/exhibitions/3886?locale=en\" target=\"_blank\" rel=\"noopener\">Being: New Photography 2018\u003c/a>, an exhibition lasting through August 19. After her move back to Ethiopia, Muluneh also created the \u003ca href=\"http://www.addisfotofest.com/\" target=\"_blank\" rel=\"noopener\">Addis Foto Fest\u003c/a>, the first and only international photography festival in East Africa. The fifth edition will be held in Addis Ababa, Ethiopia, in December 2018.\u003c/p>\n\u003cp>NPR spoke with Muluneh to learn about the creative process behind her art — and what she hopes viewers take away. This interview is edited for length and clarity.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>How would you say your approach to photography as art differs from your approach to photography as journalism? \u003c/strong>\u003c/p>\n\u003cp>There are certain things I can’t express in my journalistic work that I can express in my studio work. My studio work is an exploration of color first and foremost. I approach it almost like a painter, focusing on the basics — which are the primary colors.\u003c/p>\n\u003cfigure id=\"attachment_13830194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-800x800.jpg\" alt='\"Strength in honor\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Strength in honor” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Meanwhile, your journalistic photography is black and white.\u003c/strong>\u003c/p>\n\u003cp>I have a running joke that in photojournalism, I can’t see color. But for some reason, when I’m in the studio, it’s these primary colors I feel strongest about. Eventually, I know I’ll start mixing colors and I’ll start finding other colors. But for now, I want to learn as much as possible from the primary colors.\u003c/p>\n\u003cp>It’s also about pulling in elements from Ethiopia. Church wall paintings here use primary color. I want to show a different way of looking at my country.\u003c/p>\n\u003cp>\u003cstrong>What’s the stereotypical image of Ethiopia that you think gets overdone in the media and art?\u003c/strong>\u003c/p>\n\u003cp>The cliché of Ethiopia is the starving child or the priest with the cross. Or war or famine. The international media are always consuming images not only about Ethiopia but across all of Africa related to those stereotypes. But this place has so much complexity, and I’m witness to that complexity. There are so many subcultures, there are so many contemporary things happening here, there are so many cities with interesting people who are trying to change the continent.\u003c/p>\n\u003cp>The thing I find unfortunate about international media is that it’s not focused on that, and it’s never about perspective. I’m not trying to tell people everything is hunky-dory and perfect in Ethiopia, but everything isn’t dark and dreary either. I can come to New York and photograph a lot of homeless people\u003cstrong> \u003c/strong>on the street and say, “These are the alleys of New York,” but that’s not the full perspective.\u003c/p>\n\u003cfigure id=\"attachment_13830196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_fragments-800x800.jpg\" alt='\"Fragment\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fragment” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how did you come up with your own perspective?\u003c/strong>\u003c/p>\n\u003cp>My works are very intimate portraits. Everything is very flat. I remove a lot of shadows from the image and take a very graphical approach to photography. When I started looking at traditional elements of my culture — body ornamentation and tattoos — it’s highly sophisticated. Unfortunately, Eurocentric history has dismissed this art as primitive. But, in fact, specific colors, lines and designs have different meanings. Even when you look at the movie \u003cem>Black Panther\u003c/em>, a lot of [the movie’s aesthetic] was inspired by Ethiopia. I find traditional culture to be far more contemporary than the contemporary itself.\u003c/p>\n\u003cp>\u003cstrong>Even though your images have these qualities rooted in Ethiopian culture, they’re also almost otherworldly.\u003c/strong>\u003c/p>\n\u003cp>I’m trying to share my heritage but also to show the universality of people around the world. I’ve gone from looking at body painting around Ethiopia to looking across the continent to looking around the world. The Kayapo indigenous people of Brazil, Wodaabe people of West Africa, Maori people of New Zealand, for example, all used body painting. I realized from looking at all these different kinds of body painting that there are all of these lines of connection between different societies. Whatever our struggle, there’s something that we share. The whole collection isn’t a matter of looking at our differences. It’s a matter of looking at the similarities that we share.\u003c/p>\n\u003cp>\u003cstrong>Your work also primarily features women. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I’m a woman, and I’m sharing my experience with the world. I can’t see myself doing that through a man’s body. I feel as though there’s a power in the gaze of the woman. Especially in Africa, women are our biggest assets. There’s an expression that if you teach something to a man, you teach one person, but if you teach something to a woman, you’re teaching the whole society.\u003c/p>\n\u003cp>The models I use are very specific. One that appears frequently is a makeup artist I came across randomly. I just loved her features — her gaze and long neck. Because I’m trying to share my experiences, these women have become my portal for that.\u003c/p>\n\u003cfigure id=\"attachment_13830197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-800x800.jpg\" alt='\"All in One\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“All in One” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about how you create your images. Where do you even start?\u003c/strong>\u003c/p>\n\u003cp>My work starts out with a sketch — more like chicken scratches. But I start on paper with the idea. Then I figure out what I need for that set. I look at a lot of archived images from Ethiopia in the 1930s and 1940s. People then looked so regal, and their Afros were so perfect. I don’t know how they got it that perfect. I can’t get anybody’s Afros perfect today. You’ll notice a lot of my clothing is long, and you don’t see a lot of leg. That comes from these archived images because I don’t want people to focus on the exotic or erotic features of the female body. It’s more about her gaze.\u003c/p>\n\u003cp>For a piece like \u003cem>Fragments\u003c/em>, I work with local fashion designers. I had a sketch of what I wanted and they pieced it together for me.\u003c/p>\n\u003cp>\u003cstrong>How long does it take to apply the body paint on the models?\u003c/strong>\u003c/p>\n\u003cp>One-and-a-half hours.\u003c/p>\n\u003cp>\u003cstrong>That’s not as bad as I thought it might be.\u003c/strong>\u003c/p>\n\u003cp>It would actually be quicker to spray the paint on, but I like the texture the brush makes on the face.\u003c/p>\n\u003cp>\u003cstrong>How do you get the right shot?\u003c/strong>\u003c/p>\n\u003cp>On location, often I’ll have everything sketched. This comes from my film background. But what happens when we get on set is that I have everything planned out, and then I realize “I have to change this,” and it’s that magical moment I look for when I get that image that I seek.\u003c/p>\n\u003cp>\u003cstrong>How do you hope people react to your art in a gallery?\u003c/strong>\u003c/p>\n\u003cp>When you see my images in any show, you can see my work from a mile away. The colors are so striking; you can’t miss it. I hope people Google my name and Google Ethiopia and see something completely different that they haven’t seen in international media.\u003c/p>\n\u003cp>\u003cstrong>The topic of the MoMA exhibit you’re part of is capturing what it means to be human. What do you think your photos communicate about what it means to be human?\u003c/strong>\u003c/p>\n\u003cp>The exhibit features images from a collection of mine called “The World Is 9,” which is an expression my grandmother would say. It means the world is never a perfect 10. A lot of the challenges that we face come from within us. It’s not based on our geographical location, it’s not based on our culture; it’s not based on our education. Someone in New York — whatever they’re going through — and someone in Ethiopia are not completely different. We share commonalities. We have to question our own humanity and understand the universality of our existence.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Natalie Jacewicz is a freelance writer and law school student. Follow her @NatalieJacewicz.\u003c/em> \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=With+Paint+And+A+Camera%2C+She%27s+Forging+A+New+Artistic+Vision+Of+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1528,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 38
},
"modified": 1705028033,
"excerpt": "The Ethiopian artist Aida Muluneh spends an hour and a half decorating her models for photos that celebrate her country's past and present. Her work is now on display at the Museum of Modern Art.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Ethiopian artist Aida Muluneh spends an hour and a half decorating her models for photos that celebrate her country's past and present. Her work is now on display at the Museum of Modern Art.",
"title": "With Paint and a Camera, She's Forging a New Artistic Vision of Africa | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "With Paint and a Camera, She's Forging a New Artistic Vision of Africa",
"datePublished": "2018-04-23T11:48:33-07:00",
"dateModified": "2024-01-11T18:53:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "with-paint-and-a-camera-shes-forging-a-new-artistic-vision-of-africa",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=603174243&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Natalie Jacewicz",
"nprStoryDate": "Sun, 22 Apr 2018 07:00:00 -0400",
"nprLastModifiedDate": "Sun, 22 Apr 2018 07:07:35 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/goatsandsoda/2018/04/22/603174243/with-paint-and-a-camera-shes-forging-a-new-artistic-vision-of-africa?ft=nprml&f=603174243",
"nprImageAgency": "Aïda Muluneh ",
"nprStoryId": "603174243",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 22 Apr 2018 07:07:00 -0400",
"path": "/arts/13830174/with-paint-and-a-camera-shes-forging-a-new-artistic-vision-of-africa",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many images of Africa in Western media focus on war, famine or other crises that trouble the continent.\u003c/p>\n\u003cp>But Ethiopian artist \u003ca href=\"https://www.aidamuluneh.com/bio/\">Aïda Muluneh\u003c/a> wants to help people understand that there’s more to her country than what they typically see in the news.\u003c/p>\n\u003cp>Born in Ethiopia in 1974, Muluneh spent much of her childhood living in different countries — Yemen, England, Cyprus and Canada — before studying film at Howard University in Washington, D.C. She graduated in 2000 and then worked as a photojournalist for The\u003cem> Washington Post\u003c/em>.\u003c/p>\n\u003cp>But Muluneh became increasingly interested in creating photography as art separate from her journalistic work — and in reconnecting with her Ethiopian heritage. So she moved back to Ethiopia 11 years ago.\u003c/p>\n\u003cp>Since then, she’s been creating bright, primary-colored portraits that both celebrate and transcend Ethiopian culture.\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>Now her work is on display at the Museum of Modern Art in New York City (MoMA) as part of \u003ca href=\"https://www.moma.org/calendar/exhibitions/3886?locale=en\" target=\"_blank\" rel=\"noopener\">Being: New Photography 2018\u003c/a>, an exhibition lasting through August 19. After her move back to Ethiopia, Muluneh also created the \u003ca href=\"http://www.addisfotofest.com/\" target=\"_blank\" rel=\"noopener\">Addis Foto Fest\u003c/a>, the first and only international photography festival in East Africa. The fifth edition will be held in Addis Ababa, Ethiopia, in December 2018.\u003c/p>\n\u003cp>NPR spoke with Muluneh to learn about the creative process behind her art — and what she hopes viewers take away. This interview is edited for length and clarity.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>How would you say your approach to photography as art differs from your approach to photography as journalism? \u003c/strong>\u003c/p>\n\u003cp>There are certain things I can’t express in my journalistic work that I can express in my studio work. My studio work is an exploration of color first and foremost. I approach it almost like a painter, focusing on the basics — which are the primary colors.\u003c/p>\n\u003cfigure id=\"attachment_13830194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-800x800.jpg\" alt='\"Strength in honor\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_strength-in-honor-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Strength in honor” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Meanwhile, your journalistic photography is black and white.\u003c/strong>\u003c/p>\n\u003cp>I have a running joke that in photojournalism, I can’t see color. But for some reason, when I’m in the studio, it’s these primary colors I feel strongest about. Eventually, I know I’ll start mixing colors and I’ll start finding other colors. But for now, I want to learn as much as possible from the primary colors.\u003c/p>\n\u003cp>It’s also about pulling in elements from Ethiopia. Church wall paintings here use primary color. I want to show a different way of looking at my country.\u003c/p>\n\u003cp>\u003cstrong>What’s the stereotypical image of Ethiopia that you think gets overdone in the media and art?\u003c/strong>\u003c/p>\n\u003cp>The cliché of Ethiopia is the starving child or the priest with the cross. Or war or famine. The international media are always consuming images not only about Ethiopia but across all of Africa related to those stereotypes. But this place has so much complexity, and I’m witness to that complexity. There are so many subcultures, there are so many contemporary things happening here, there are so many cities with interesting people who are trying to change the continent.\u003c/p>\n\u003cp>The thing I find unfortunate about international media is that it’s not focused on that, and it’s never about perspective. I’m not trying to tell people everything is hunky-dory and perfect in Ethiopia, but everything isn’t dark and dreary either. I can come to New York and photograph a lot of homeless people\u003cstrong> \u003c/strong>on the street and say, “These are the alleys of New York,” but that’s not the full perspective.\u003c/p>\n\u003cfigure id=\"attachment_13830196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_fragments-800x800.jpg\" alt='\"Fragment\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_fragments-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fragment” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how did you come up with your own perspective?\u003c/strong>\u003c/p>\n\u003cp>My works are very intimate portraits. Everything is very flat. I remove a lot of shadows from the image and take a very graphical approach to photography. When I started looking at traditional elements of my culture — body ornamentation and tattoos — it’s highly sophisticated. Unfortunately, Eurocentric history has dismissed this art as primitive. But, in fact, specific colors, lines and designs have different meanings. Even when you look at the movie \u003cem>Black Panther\u003c/em>, a lot of [the movie’s aesthetic] was inspired by Ethiopia. I find traditional culture to be far more contemporary than the contemporary itself.\u003c/p>\n\u003cp>\u003cstrong>Even though your images have these qualities rooted in Ethiopian culture, they’re also almost otherworldly.\u003c/strong>\u003c/p>\n\u003cp>I’m trying to share my heritage but also to show the universality of people around the world. I’ve gone from looking at body painting around Ethiopia to looking across the continent to looking around the world. The Kayapo indigenous people of Brazil, Wodaabe people of West Africa, Maori people of New Zealand, for example, all used body painting. I realized from looking at all these different kinds of body painting that there are all of these lines of connection between different societies. Whatever our struggle, there’s something that we share. The whole collection isn’t a matter of looking at our differences. It’s a matter of looking at the similarities that we share.\u003c/p>\n\u003cp>\u003cstrong>Your work also primarily features women. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I’m a woman, and I’m sharing my experience with the world. I can’t see myself doing that through a man’s body. I feel as though there’s a power in the gaze of the woman. Especially in Africa, women are our biggest assets. There’s an expression that if you teach something to a man, you teach one person, but if you teach something to a woman, you’re teaching the whole society.\u003c/p>\n\u003cp>The models I use are very specific. One that appears frequently is a makeup artist I came across randomly. I just loved her features — her gaze and long neck. Because I’m trying to share my experiences, these women have become my portal for that.\u003c/p>\n\u003cfigure id=\"attachment_13830197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-800x800.jpg\" alt='\"All in One\"' width=\"800\" height=\"800\" class=\"size-medium wp-image-13830197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/muluneh_all-in-one-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“All in One” \u003ccite>(Aïda Muluneh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about how you create your images. Where do you even start?\u003c/strong>\u003c/p>\n\u003cp>My work starts out with a sketch — more like chicken scratches. But I start on paper with the idea. Then I figure out what I need for that set. I look at a lot of archived images from Ethiopia in the 1930s and 1940s. People then looked so regal, and their Afros were so perfect. I don’t know how they got it that perfect. I can’t get anybody’s Afros perfect today. You’ll notice a lot of my clothing is long, and you don’t see a lot of leg. That comes from these archived images because I don’t want people to focus on the exotic or erotic features of the female body. It’s more about her gaze.\u003c/p>\n\u003cp>For a piece like \u003cem>Fragments\u003c/em>, I work with local fashion designers. I had a sketch of what I wanted and they pieced it together for me.\u003c/p>\n\u003cp>\u003cstrong>How long does it take to apply the body paint on the models?\u003c/strong>\u003c/p>\n\u003cp>One-and-a-half hours.\u003c/p>\n\u003cp>\u003cstrong>That’s not as bad as I thought it might be.\u003c/strong>\u003c/p>\n\u003cp>It would actually be quicker to spray the paint on, but I like the texture the brush makes on the face.\u003c/p>\n\u003cp>\u003cstrong>How do you get the right shot?\u003c/strong>\u003c/p>\n\u003cp>On location, often I’ll have everything sketched. This comes from my film background. But what happens when we get on set is that I have everything planned out, and then I realize “I have to change this,” and it’s that magical moment I look for when I get that image that I seek.\u003c/p>\n\u003cp>\u003cstrong>How do you hope people react to your art in a gallery?\u003c/strong>\u003c/p>\n\u003cp>When you see my images in any show, you can see my work from a mile away. The colors are so striking; you can’t miss it. I hope people Google my name and Google Ethiopia and see something completely different that they haven’t seen in international media.\u003c/p>\n\u003cp>\u003cstrong>The topic of the MoMA exhibit you’re part of is capturing what it means to be human. What do you think your photos communicate about what it means to be human?\u003c/strong>\u003c/p>\n\u003cp>The exhibit features images from a collection of mine called “The World Is 9,” which is an expression my grandmother would say. It means the world is never a perfect 10. A lot of the challenges that we face come from within us. It’s not based on our geographical location, it’s not based on our culture; it’s not based on our education. Someone in New York — whatever they’re going through — and someone in Ethiopia are not completely different. We share commonalities. We have to question our own humanity and understand the universality of our existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Natalie Jacewicz is a freelance writer and law school student. Follow her @NatalieJacewicz.\u003c/em> \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=With+Paint+And+A+Camera%2C+She%27s+Forging+A+New+Artistic+Vision+Of+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830174/with-paint-and-a-camera-shes-forging-a-new-artistic-vision-of-africa",
"authors": [
"byline_arts_13830174"
],
"categories": [
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13830175",
"label": "arts_137"
},
"arts_13830037": {
"type": "posts",
"id": "arts_13830037",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830037",
"score": null,
"sort": [
1524322855000
]
},
"guestAuthors": [],
"slug": "william-friedkin-meets-the-devil-and-father-amorth",
"title": "William Friedkin Meets 'The Devil And Father Amorth'",
"publishDate": 1524322855,
"format": "standard",
"headTitle": "William Friedkin Meets ‘The Devil And Father Amorth’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The director of 'The Exorcist' compiles footage of an exorcism he filmed for a magazine article. The bizarre result \"seems to have been made by someone who's never seen a movie before.\"",
"status": "publish",
"parent": 0,
"modified": 1726705187,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 996
},
"headData": {
"title": "William Friedkin Meets 'The Devil And Father Amorth' | KQED",
"description": "The director of 'The Exorcist' compiles footage of an exorcism he filmed for a magazine article. The bizarre result "seems to have been made by someone who's never seen a movie before."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "William Friedkin Meets 'The Devil And Father Amorth'",
"datePublished": "2018-04-21T08:00:55-07:00",
"dateModified": "2024-09-18T17:19:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprImageAgency": "William Friedkin",
"nprStoryId": "603255562",
"nprApiLink": "http://api.npr.org/query?id=603255562&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/04/19/603255562/william-friedkin-meets-the-devil-and-father-amorth?ft=nprml&f=603255562",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 Apr 2018 17:00:00 -0400",
"nprStoryDate": "Thu, 19 Apr 2018 17:00:53 -0400",
"nprLastModifiedDate": "Thu, 19 Apr 2018 17:00:53 -0400",
"path": "/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth",
"authors": [
"byline_arts_13830037"
],
"categories": [
"arts_74"
],
"tags": [
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13830038",
"label": "arts_137"
},
"arts_13830063": {
"type": "posts",
"id": "arts_13830063",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830063",
"score": null,
"sort": [
1524265031000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524265031,
"format": "standard",
"title": "Electronic Dance Music Superstar Avicii Dies At 28",
"headTitle": "Electronic Dance Music Superstar Avicii Dies At 28 | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\u003c/p>\n\u003cp>https://youtu.be/_ovdm2yX4MA\u003c/p>\n\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\n\u003cp>https://twitter.com/aloeblacc/status/987394281303302144\u003c/p>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\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=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 580,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705028038,
"excerpt": "Tim Bergling, a Swedish dance wunderkind and one of the most successful DJs in the world, was found dead Friday in Oman.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Tim Bergling, a Swedish dance wunderkind and one of the most successful DJs in the world, was found dead Friday in Oman.",
"title": "Electronic Dance Music Superstar Avicii Dies At 28 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Electronic Dance Music Superstar Avicii Dies At 28",
"datePublished": "2018-04-20T15:57:11-07:00",
"dateModified": "2024-01-11T18:53:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "electronic-dance-music-superstar-avicii-dies-at-28",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=604371720&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Fri, 20 Apr 2018 14:14:00 -0400",
"nprLastModifiedDate": "Fri, 20 Apr 2018 15:50:51 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/04/20/604371720/edm-superstar-avicii-dies-at-28?ft=nprml&f=604371720",
"nprImageAgency": "Getty Images for CBS Radio Inc.",
"nprImageCredit": "Gabriel Olsen",
"nprStoryId": "604371720",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 20 Apr 2018 15:50:00 -0400",
"path": "/arts/13830063/electronic-dance-music-superstar-avicii-dies-at-28",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\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/_ovdm2yX4MA'\n title='//www.youtube.com/embed/_ovdm2yX4MA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\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>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "987394281303302144"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\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=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830063/electronic-dance-music-superstar-avicii-dies-at-28",
"authors": [
"byline_arts_13830063"
],
"categories": [
"arts_69",
"arts_1564"
],
"tags": [
"arts_10589",
"arts_879",
"arts_1501",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13830066",
"label": "arts_137"
},
"arts_13829947": {
"type": "posts",
"id": "arts_13829947",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829947",
"score": null,
"sort": [
1524166663000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524166663,
"format": "standard",
"title": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U'",
"headTitle": "From the Vaults, a Showstopper: Hear Prince Perform ‘Nothing Compares 2 U’ | KQED",
"content": "\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cpGA0azFdCs\u003c/p>\n\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:44 p.m., Apr. 18 with new information on criminal charges over Prince’s death.\u003c/em> \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=From+The+Vaults%2C+A+Showstopper%3A+Hear+Prince+Perform+%27Nothing+Compares+2+U%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 352,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705028050,
"excerpt": "As news swirls about culpability for Prince's death, his estate has released a major find: a long-lost 1984 recording of his classic composition, along with rare video footage from his rehearsals.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As news swirls about culpability for Prince's death, his estate has released a major find: a long-lost 1984 recording of his classic composition, along with rare video footage from his rehearsals.",
"title": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U'",
"datePublished": "2018-04-19T12:37:43-07:00",
"dateModified": "2024-01-11T18:54:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=603959932&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Stephen Thompson",
"nprStoryDate": "Thu, 19 Apr 2018 13:00:00 -0400",
"nprLastModifiedDate": "Thu, 19 Apr 2018 13:45:27 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2018/04/19/603959932/from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u?ft=nprml&f=603959932",
"nprImageAgency": "Getty Images for Samsung",
"nprImageCredit": "John Sciulli",
"nprStoryId": "603959932",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 Apr 2018 13:45:00 -0400",
"path": "/arts/13829947/from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\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/cpGA0azFdCs'\n title='//www.youtube.com/embed/cpGA0azFdCs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:44 p.m., Apr. 18 with new information on criminal charges over Prince’s death.\u003c/em> \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=From+The+Vaults%2C+A+Showstopper%3A+Hear+Prince+Perform+%27Nothing+Compares+2+U%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829947/from-the-vaults-a-showstopper-hear-prince-perform-nothing-compares-2-u",
"authors": [
"byline_arts_13829947"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1424"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829948",
"label": "arts_137"
},
"arts_13829930": {
"type": "posts",
"id": "arts_13829930",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829930",
"score": null,
"sort": [
1524164436000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1524164436,
"format": "standard",
"title": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison",
"headTitle": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison | KQED",
"content": "\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \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=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 968,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705028052,
"excerpt": "The norteño band became the first free musicians to play at Folsom Prison since Johnny Cash did in 1968.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The norteño band became the first free musicians to play at Folsom Prison since Johnny Cash did in 1968.",
"title": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison",
"datePublished": "2018-04-19T12:00:36-07:00",
"dateModified": "2024-01-11T18:54:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "50-years-after-johnny-cash-los-tigres-del-norte-perform-at-folsom-prison",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=603304745&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Wed, 18 Apr 2018 18:33:00 -0400",
"nprLastModifiedDate": "Thu, 19 Apr 2018 12:03:36 -0400",
"nprHtmlLink": "https://www.npr.org/2018/04/18/603304745/los-tigres-del-norte-perform-at-folsom-prison-50-years-after-johnny-cash?ft=nprml&f=603304745",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/04/20180418_atc_los_tigres_del_norte_perform_at_folsom_state_prison_for_the_first_time_since_johnny_cash.mp3?orgId=1&topicId=1106&aggIds=100920965&d=347&p=2&story=603304745&ft=nprml&f=603304745",
"nprImageAgency": "Courtesy of Los Tigres Del Norte",
"nprAudioM3u": "http://api.npr.org/m3u/1603693242-50a04c.m3u?orgId=1&topicId=1106&aggIds=100920965&d=347&p=2&story=603304745&ft=nprml&f=603304745",
"nprStoryId": "603304745",
"nprByline": "Felix Contreras",
"sticky": false,
"nprImageCredit": "Lance Dawes",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 Apr 2018 11:40:00 -0400",
"path": "/arts/13829930/50-years-after-johnny-cash-los-tigres-del-norte-perform-at-folsom-prison",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/04/20180418_atc_los_tigres_del_norte_perform_at_folsom_state_prison_for_the_first_time_since_johnny_cash.mp3?orgId=1&topicId=1106&aggIds=100920965&d=347&p=2&story=603304745&ft=nprml&f=603304745",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\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>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \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=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829930/50-years-after-johnny-cash-los-tigres-del-norte-perform-at-folsom-prison",
"authors": [
"byline_arts_13829930"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829931",
"label": "arts_137"
},
"arts_13829632": {
"type": "posts",
"id": "arts_13829632",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829632",
"score": null,
"sort": [
1523996760000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1523996760,
"format": "standard",
"title": "NPR Newscaster Carl Kasell Dies at 84, After a Lifelong Career On-Air",
"headTitle": "NPR Newscaster Carl Kasell Dies at 84, After a Lifelong Career On-Air | KQED",
"content": "\u003cp>Every weekday for more than three decades, his baritone steadied our mornings. Even in moments of chaos and crisis, Carl Kasell brought unflappable authority to the news. But behind that hid a lively sense of humor, revealed to listeners late in his career, when he became the beloved judge and official scorekeeper for \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">Wait Wait… Don’t Tell Me!\u003c/a>\u003cem> \u003c/em>NPR’s news quiz show.\u003cem> \u003c/em>\u003c/p>\n\u003cp>Kasell died Tuesday from complications from Alzheimer’s disease in Potomac, Md. He was 84.\u003c/p>\n\u003cp>He started preparing for the role of newscaster as a child. “I sometimes would hide behind the radio and pretend I was on the air,” he said in 2009, remembering his boyhood in Goldsboro, N.C.\u003c/p>\n\u003cp>He also used to play with his grandmother’s windup Victrola and her collection of records. “I would sit there sometimes and play those records, and I’d put in commercials between them,” he recalled. “And I would do a newscast just like the guy on the radio did.”\u003c/p>\n\u003cp>Kasell became a real guy on the radio at age 16, DJ-ing a late-night music show on his local station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the University of North Carolina, Kasell was, unsurprisingly, one of the very first students to work at its brand-new station, WUNC. After graduation he served in the military. But a job was waiting for him back home at his old station in Goldsboro. He moved to Northern Virginia to spin records but a friend persuaded him to take a job at an all-news station.\u003c/p>\n\u003cp>“I kind of left the records behind,” Kasell said. “It came at a time when so much was happening; we had the Vietnam War, the demonstrations downtown in Washington, the [Martin Luther King] and Bobby Kennedy assassinations. And so it was a great learning period even though [there were] bad times in there.”\u003c/p>\n\u003cp>In 1975, Kasell joined NPR as a part-time employee. Four years later, he announced the news for the first broadcast of a new show called \u003cem>Morning Edition\u003c/em>. Over three decades, he became one of the network’s most recognized voices.\u003c/p>\n\u003cfigure id=\"attachment_13829629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/15_carl_kasell_slide-423f0bd683d34d4fefc04bd9954c5e7141ad14ad-2-800x533.jpg\" alt=\"NPR employees line the hallway of the 'Morning Edition' newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13829629\">\u003cfigcaption class=\"wp-caption-text\">NPR employees line the hallway of the ‘Morning Edition’ newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Edwards,\u003cem> Morning Edition’\u003c/em>s former host, says he relied on Kasell, especially on days such as Sept. 11, when news broke early. “That morning and a thousand others, awful things happened in the morning,” Edwards says.\u003c/p>\n\u003cp>Sure, Edwards was the morning host, but he says Kasell was — in every way — its anchor. “Seven newscasts, every morning … nobody in the business does that,” Edwards said. “That is incredible.”\u003c/p>\n\u003cp>And then came a surprise second act; after decades of being super-serious, Kasell got a chance to let his hair down as the official judge and scorekeeper for \u003cem>Wait Wait… Don’t Tell Me!\u003c/em>\u003c/p>\n\u003cp>Host Peter Sagal says no one could have guessed that Kasell would be so funny. “The greatest thing about Carl was anything we came up with, he was game,” Sagal says. “When we were in Las Vegas, we had him come onstage in a showgirl’s headdress. No matter what we asked him to do — silly voices, or weird stunts; we had him jump out of a cake once to make his entrance onstage — he did it [with] such joy and such dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13829669\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg\" alt=\"Kasell decides to take a publicity photo shoot up a notch while 'Wait Wait... Don't Tell Me!' host Peter Sagal tickles the ivories.\" width=\"775\" height=\"542\" class=\"size-full wp-image-13829669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-520x364.jpg 520w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Kasell decides to take a publicity photo shoot up a notch while ‘Wait Wait… Don’t Tell Me!’ host Peter Sagal tickles the ivories. \u003ccite>(Wait Wait... Don't Tell Me!/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning, \u003cem>Wait Wait \u003c/em>didn’t have a budget for actual prizes, so the “prize” for listeners was to have Kasell record the outgoing message on their answering machines. He ended up recording more than 2,000 messages. (You can hear some favorites below.)\u003c/p>\n\u003cp>Kasell may have been known for his measured, on-air newscast persona, but behind the scenes, the kind, witty newsman had plenty of surprises. He loved magic tricks, and at one memorable company holiday party, he sawed Nina Totenberg in half.\u003c/p>\n\u003cp>“We laid her out on the table, got out that saw and \u003cem>grrrr \u003c/em>… ran it straight through her midsection,” he recalled. “She said it tickled and she got up and walked away in one piece.”\u003c/p>\n\u003cp>In all that he did, Carl Kasell was magic.\u003c/p>\n\u003cfigure id=\"attachment_13829670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg\" alt=\"asell unleashes his powers in the lobby of NPR's headquarters in Washington, D.C.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-13829670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-960x569.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-520x308.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">asell unleashes his powers in the lobby of NPR’s headquarters in Washington, D.C. \u003ccite>(Katie Burk/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story was adapted for the Web by longtime \u003c/em>Wait Wait\u003cem> Web guru Beth Novey. \u003c/em> \u003c/p>\n\u003ch3>Hear Some Of Kasell’s Outgoing Voicemail Messages\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612602\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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/528656453/531612606\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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/528656453/531612595\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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/528656453/531612604\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\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/528656453/531612609\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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=NPR+Newscaster+Carl+Kasell+Dies+At+84%2C+After+A+Lifelong+Career+On-Air&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 829,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705028066,
"excerpt": "Kasell brought unflappable authority to the news, but he also had a lively sense of humor, revealed late in his career when he became the judge and scorekeeper for 'Wait Wait... Don't Tell Me!'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Kasell brought unflappable authority to the news, but he also had a lively sense of humor, revealed late in his career when he became the judge and scorekeeper for 'Wait Wait... Don't Tell Me!'",
"title": "NPR Newscaster Carl Kasell Dies at 84, After a Lifelong Career On-Air | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NPR Newscaster Carl Kasell Dies at 84, After a Lifelong Career On-Air",
"datePublished": "2018-04-17T13:26:00-07:00",
"dateModified": "2024-01-11T18:54:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "npr-newscaster-carl-kasell-dies-at-84-after-a-lifelong-career-on-air",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=528656453&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Tue, 17 Apr 2018 15:51:01 -0400",
"nprLastModifiedDate": "Tue, 17 Apr 2018 16:00:52 -0400",
"nprHtmlLink": "https://www.npr.org/2018/04/17/528656453/npr-newscaster-carl-kasell-dies-at-84-after-a-lifelong-career-on-air?ft=nprml&f=528656453",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_pussycat.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_ifeelcheap.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_boogeyman.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_positiveimpact.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1531612602-63d907.m3u?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,http://api.npr.org/m3u/1531612606-ecf327.m3u?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,http://api.npr.org/m3u/1531612604-a25242.m3u?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,http://api.npr.org/m3u/1531612609-18a400.m3u?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453",
"nprStoryId": "528656453",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprImageCredit": "Chip Somodevilla",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 17 Apr 2018 15:51:00 -0400",
"path": "/arts/13829632/npr-newscaster-carl-kasell-dies-at-84-after-a-lifelong-career-on-air",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_pussycat.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_ifeelcheap.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_boogeyman.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453,https://ondemand.npr.org/anon.npr-mp3/npr/waitwait/2014/05/20140507_waitwait_positiveimpact.mp3?orgId=1&topicId=1062&story=528656453&ft=nprml&f=528656453",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every weekday for more than three decades, his baritone steadied our mornings. Even in moments of chaos and crisis, Carl Kasell brought unflappable authority to the news. But behind that hid a lively sense of humor, revealed to listeners late in his career, when he became the beloved judge and official scorekeeper for \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">Wait Wait… Don’t Tell Me!\u003c/a>\u003cem> \u003c/em>NPR’s news quiz show.\u003cem> \u003c/em>\u003c/p>\n\u003cp>Kasell died Tuesday from complications from Alzheimer’s disease in Potomac, Md. He was 84.\u003c/p>\n\u003cp>He started preparing for the role of newscaster as a child. “I sometimes would hide behind the radio and pretend I was on the air,” he said in 2009, remembering his boyhood in Goldsboro, N.C.\u003c/p>\n\u003cp>He also used to play with his grandmother’s windup Victrola and her collection of records. “I would sit there sometimes and play those records, and I’d put in commercials between them,” he recalled. “And I would do a newscast just like the guy on the radio did.”\u003c/p>\n\u003cp>Kasell became a real guy on the radio at age 16, DJ-ing a late-night music show on his local station.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the University of North Carolina, Kasell was, unsurprisingly, one of the very first students to work at its brand-new station, WUNC. After graduation he served in the military. But a job was waiting for him back home at his old station in Goldsboro. He moved to Northern Virginia to spin records but a friend persuaded him to take a job at an all-news station.\u003c/p>\n\u003cp>“I kind of left the records behind,” Kasell said. “It came at a time when so much was happening; we had the Vietnam War, the demonstrations downtown in Washington, the [Martin Luther King] and Bobby Kennedy assassinations. And so it was a great learning period even though [there were] bad times in there.”\u003c/p>\n\u003cp>In 1975, Kasell joined NPR as a part-time employee. Four years later, he announced the news for the first broadcast of a new show called \u003cem>Morning Edition\u003c/em>. Over three decades, he became one of the network’s most recognized voices.\u003c/p>\n\u003cfigure id=\"attachment_13829629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/15_carl_kasell_slide-423f0bd683d34d4fefc04bd9954c5e7141ad14ad-2-800x533.jpg\" alt=\"NPR employees line the hallway of the 'Morning Edition' newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13829629\">\u003cfigcaption class=\"wp-caption-text\">NPR employees line the hallway of the ‘Morning Edition’ newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Edwards,\u003cem> Morning Edition’\u003c/em>s former host, says he relied on Kasell, especially on days such as Sept. 11, when news broke early. “That morning and a thousand others, awful things happened in the morning,” Edwards says.\u003c/p>\n\u003cp>Sure, Edwards was the morning host, but he says Kasell was — in every way — its anchor. “Seven newscasts, every morning … nobody in the business does that,” Edwards said. “That is incredible.”\u003c/p>\n\u003cp>And then came a surprise second act; after decades of being super-serious, Kasell got a chance to let his hair down as the official judge and scorekeeper for \u003cem>Wait Wait… Don’t Tell Me!\u003c/em>\u003c/p>\n\u003cp>Host Peter Sagal says no one could have guessed that Kasell would be so funny. “The greatest thing about Carl was anything we came up with, he was game,” Sagal says. “When we were in Las Vegas, we had him come onstage in a showgirl’s headdress. No matter what we asked him to do — silly voices, or weird stunts; we had him jump out of a cake once to make his entrance onstage — he did it [with] such joy and such dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13829669\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg\" alt=\"Kasell decides to take a publicity photo shoot up a notch while 'Wait Wait... Don't Tell Me!' host Peter Sagal tickles the ivories.\" width=\"775\" height=\"542\" class=\"size-full wp-image-13829669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-520x364.jpg 520w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Kasell decides to take a publicity photo shoot up a notch while ‘Wait Wait… Don’t Tell Me!’ host Peter Sagal tickles the ivories. \u003ccite>(Wait Wait... Don't Tell Me!/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning, \u003cem>Wait Wait \u003c/em>didn’t have a budget for actual prizes, so the “prize” for listeners was to have Kasell record the outgoing message on their answering machines. He ended up recording more than 2,000 messages. (You can hear some favorites below.)\u003c/p>\n\u003cp>Kasell may have been known for his measured, on-air newscast persona, but behind the scenes, the kind, witty newsman had plenty of surprises. He loved magic tricks, and at one memorable company holiday party, he sawed Nina Totenberg in half.\u003c/p>\n\u003cp>“We laid her out on the table, got out that saw and \u003cem>grrrr \u003c/em>… ran it straight through her midsection,” he recalled. “She said it tickled and she got up and walked away in one piece.”\u003c/p>\n\u003cp>In all that he did, Carl Kasell was magic.\u003c/p>\n\u003cfigure id=\"attachment_13829670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg\" alt=\"asell unleashes his powers in the lobby of NPR's headquarters in Washington, D.C.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-13829670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-960x569.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-520x308.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">asell unleashes his powers in the lobby of NPR’s headquarters in Washington, D.C. \u003ccite>(Katie Burk/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story was adapted for the Web by longtime \u003c/em>Wait Wait\u003cem> Web guru Beth Novey. \u003c/em> \u003c/p>\n\u003ch3>Hear Some Of Kasell’s Outgoing Voicemail Messages\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612602\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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/528656453/531612606\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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/528656453/531612595\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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/528656453/531612604\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\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/528656453/531612609\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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=NPR+Newscaster+Carl+Kasell+Dies+At+84%2C+After+A+Lifelong+Career+On-Air&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829632/npr-newscaster-carl-kasell-dies-at-84-after-a-lifelong-career-on-air",
"authors": [
"byline_arts_13829632"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829667",
"label": "arts_137"
},
"arts_13829539": {
"type": "posts",
"id": "arts_13829539",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829539",
"score": null,
"sort": [
1523919832000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1523919832,
"format": "video",
"title": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners",
"headTitle": "Kendrick Lamar, ‘Press Democrat’ Claim Pulitzers. Here’s the Full List of Winners | KQED",
"content": "\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1165,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 32
},
"modified": 1705028072,
"excerpt": "Lamar joins the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> as this year's prize winners. See the list of winners and watch Monday's announcement ceremony here.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lamar joins the staffs of The New York Times and The Washington Post as this year's prize winners. See the list of winners and watch Monday's announcement ceremony here.",
"title": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners",
"datePublished": "2018-04-16T16:03:52-07:00",
"dateModified": "2024-01-11T18:54:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kendrick-lamar-press-democrat-claim-pulitzers-heres-the-full-list-of-winners",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=602917273&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"videoEmbed": "https://www.youtube.com/watch?v=ALQv-VTb0TI",
"nprByline": "Colin Dwyer",
"nprStoryDate": "Mon, 16 Apr 2018 14:58:00 -0400",
"nprLastModifiedDate": "Mon, 16 Apr 2018 17:48:13 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/04/16/602917273/watch-live-here-are-the-winners-of-the-2018-pulitzer-prizes?ft=nprml&f=602917273",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Daniel Leal-Olivas",
"nprStoryId": "602917273",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 16 Apr 2018 17:48:00 -0400",
"path": "/arts/13829539/kendrick-lamar-press-democrat-claim-pulitzers-heres-the-full-list-of-winners",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829539/kendrick-lamar-press-democrat-claim-pulitzers-heres-the-full-list-of-winners",
"authors": [
"byline_arts_13829539"
],
"categories": [
"arts_1",
"arts_73",
"arts_69",
"arts_235",
"arts_967"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829540",
"label": "arts_137"
},
"arts_13829484": {
"type": "posts",
"id": "arts_13829484",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829484",
"score": null,
"sort": [
1523833954000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1523833954,
"format": "standard",
"title": "Milos Forman, 'One Flew Over The Cuckoo's Nest' Director, Dies At 86",
"headTitle": "Milos Forman, ‘One Flew Over The Cuckoo’s Nest’ Director, Dies At 86 | KQED",
"content": "\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \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=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 345,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705028079,
"excerpt": "The Czech director won awards for 1975's \u003cem>One Flew Over the Cuckoo's Nest\u003c/em> and 1984's \u003cem>Amadeus.\u003c/em>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Czech director won awards for 1975's One Flew Over the Cuckoo's Nest and 1984's Amadeus.",
"title": "Milos Forman, 'One Flew Over The Cuckoo's Nest' Director, Dies At 86 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Milos Forman, 'One Flew Over The Cuckoo's Nest' Director, Dies At 86",
"datePublished": "2018-04-15T16:12:34-07:00",
"dateModified": "2024-01-11T18:54:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "milos-forman-one-flew-over-the-cuckoos-nest-director-dies-at-86",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=602434129&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "James Doubek",
"nprStoryDate": "Sat, 14 Apr 2018 07:28:00 -0400",
"nprLastModifiedDate": "Sat, 14 Apr 2018 07:31:38 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/04/14/602434129/milos-forman-one-flew-over-the-cuckoo-s-nest-director-dies-at-86?ft=nprml&f=602434129",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Ernesto S. Ruscio",
"nprStoryId": "602434129",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 14 Apr 2018 07:28:00 -0400",
"path": "/arts/13829484/milos-forman-one-flew-over-the-cuckoos-nest-director-dies-at-86",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \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=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829484/milos-forman-one-flew-over-the-cuckoos-nest-director-dies-at-86",
"authors": [
"byline_arts_13829484"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1118",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829485",
"label": "arts_137"
},
"arts_13829349": {
"type": "posts",
"id": "arts_13829349",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829349",
"score": null,
"sort": [
1523648926000
]
},
"guestAuthors": [],
"slug": "not-enough-color-in-american-art-museums",
"title": "Not Enough Color in American Art Museums",
"publishDate": 1523648926,
"format": "standard",
"headTitle": "Not Enough Color in American Art Museums | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The \u003ca href=\"http://www.newsweek.com/white-woman-named-curator-african-art-brooklyn-museum-865522\" target=\"_blank\" rel=\"noopener\">current furor over the Brooklyn Museum’s appointment of a white woman\u003c/a> to oversee the museum’s African Art collection is not surprising or infuriating to Steven Nelson. Nelson is an African American art historian at UCLA who specializes in African art, and he says, “There are very few of us in the field.”\u003c/p>\n\u003cp>Despite the public assumption that most African art curators in the US are of African descent, Nelson points out, “in the United States, the field is largely made up of white people—and most of those people are female.” So the appointment of Kristen Windmuller-Luna was, for Nelson, business as usual.\u003c/p>\n\u003cp>But some Brooklynites are pushing back. A coalition of community activist organizations, Decolonize This Place, sent a \u003ca href=\"https://decolonizebrooklynmuseum.wordpress.com/\" target=\"_blank\" rel=\"noopener\">strongly worded open letter\u003c/a> to the museum. The group urged management to rethink Windmuller-Luna’s hiring, saying, “No matter how one parses it, the appointment is simply not a good look in this day and age, especially on the part of a museum that prides itself on its relationships with the diverse communities of Brooklyn.”\u003c/p>\n\u003cp>The museum, which is acknowledged to have a more diverse staff than most, responded via \u003ca href=\"https://www.bkreader.com/2018/04/brooklyn-museum-stand-appointment-dr-kristen-windmuller-luna-consulting-curator-african-arts/\" target=\"_blank\" rel=\"noopener\">director Anne Pasternak:\u003c/a> “I am writing to state unequivocally that the Brooklyn Museum stands by our appointment of Dr. Kristen Windmuller-Luna.” Pasternak noted the museum’s collection of African Arts “is among the most important and extensive in the nation” and the new curator was chosen for her deep knowledge and love of the field.\u003c/p>\n\u003cp>\u003cstrong>Gatekeepers of a different culture\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one is debating Windmuller-Luna’s qualifications (her degrees from Yale and Princeton, and previous museum appointments). They are registering frustration that white people are continually made to be gatekeepers of art from the African Diaspora.\u003c/p>\n\u003cp>“You know,” UCLA’s Steven Nelson continues, “they made two hires, and no one seems upset about the fact that they hired a white guy for photography, which in fact is a much more diverse field than African Art.” What people should \u003cem>really \u003c/em>be up in arms about, Nelson says, is the fact that “there were eight reasonably high-profile hires in the art world over the last couple of weeks, and that seven of those eight are white people.” (One is Asian-American.) “No one batted an eye about that,” he says.\u003c/p>\n\u003cp>For instance, Colin MacKenzie was hired to oversee the Art Institute of Chicago’s extensive Asian art collection. And on Tuesday, New York’s Metropolitan Museum of Art, arguably the most prestigious US museum, announced the appointment of a new director, Max Hollein, who is white, male and European.\u003c/p>\n\u003cp>Former Met director Philippe de Montebello (also white, male, European) dismissed a group request to deliberately search for a female director in one word: “Ridiculous.” Two days after Hollein’s appointment was announced, Liza Oliver, a former Fellow of the museum, and current art history professor at Wellesley College, published a tart opinion piece in the New York Times: “Appointing Yet Another White, Male Director Is a Missed Opportunity for the Met.”\u003c/p>\n\u003cp>\u003cstrong>Non-diversity a systemic problem for most museums\u003c/strong>\u003c/p>\n\u003cp>In 2015, the Andrew W. Mellon Foundation supported \u003ca href=\"https://news.artnet.com/art-world/mellon-foundation-museum-diversity-study-322299\">a survey to gauge ethnic and gender diversity among the country’s museums.\u003c/a> The results were dismaying: according to the survey, 84% of the country’s museum staff (curators, educators, conservators and upper-level administrators) was non-Hispanic white; blacks were 4%, Asian Americans 6%. Native Hawaiians and Native Americans? Zero.\u003c/p>\n\u003cp>Women fared better—at almost 60% of professional museum staff. Significant numbers of non-white staff tended to be in jobs like security, human resources, facilities and finance.\u003c/p>\n\u003cp>Some critics say the lack of people of color in the museum world is a systemic problem that has long needed to be addressed. “As a discipline, art history has been very poor in attracting a diverse group of people interested not only in African art, but in all fields,” UCLA’s Nelson says. He adds that encouraging the interest in art careers has to start in high school and college.\u003c/p>\n\u003cp>\u003cstrong>Removing barriers to entry\u003c/strong>\u003c/p>\n\u003cp>Part of the problem is certainly economic. Internships in galleries and museums often give young people a coveted foot in the door of their intended careers. Those jobs may be prestigious, but they don’t pay much. (Some don’t pay anything.) Like internships in publishing, the movie and television industries, and in talent agencies, the steady stream of interns tends to come from young people who have some financial support other beyond their salaries. Those who have to work to help pay college expenses may have to pass up an internship in the arts, no matter how avidly interested they are in the field.\u003c/p>\n\u003cp>Nelson himself remembers turning down an internship he wanted because he couldn’t afford to take it.\u003c/p>\n\u003cp>So priming the pump to get more people of color into the arts career pipeline is an important part of the solution, one in which museums may have to lend a hand if they want to see a diverse staff. In 2013, \u003ca href=\"https://mellon.org/programs/arts-and-cultural-heritage/art-history-conservation-museums/demographic-survey/\" target=\"_blank\" rel=\"noopener\">Mellon gave a $2.07 million grant\u003c/a> to five large museums, including the Los Angeles County Museum of Art, Atlanta’s High Museum of Art and the Museum of Fine Arts, Houston. The grant funded curatorial fellowships for undergrads and was designed, in the foundation’s words, “to open up the museum as a potential workplace to students from historically underrepresented minorities and other undergraduates who are committed to diversifying our cultural organizations.”\u003c/p>\n\u003cp>If museums are going to last through the 21\u003csup>st\u003c/sup> Century and beyond, it’s critical that they reflect the diversity of the world outside their doors. Museum leaders are aware of this, and have begun looking for ways for their institutions to survive and thrive. One effort was a \u003ca href=\"https://mellon.org/resources/news/articles/case-studies-museum-diversity/\" target=\"_blank\" rel=\"noopener\">Mellon-funded series of case studies\u003c/a>, done in collaboration with the American Association of Museum Directors, which chose eight museums that have managed to encourage diversity, equity and inclusion. Five case studies have been released; three will be released at a later date. The point is to \u003ca href=\"https://www.npr.org/2018/01/07/576219631/how-an-art-museum-is-reaching-a-more-diverse-audience\" target=\"_blank\" rel=\"noopener\">show what these museums have done to diversify\u003c/a>, in the hope that others will be encouraged to follow suit.\u003c/p>\n\u003cp>\u003cstrong>Whose museum?\u003c/strong>\u003c/p>\n\u003cp>The Brooklyn Museum is one of the eight surveyed. \u003ca href=\"http://www.sr.ithaka.org/publications/i-recommend-dancing-brooklyn-museum/\">It’s facing the same challenges as the other museums\u003c/a>, and a more immediate one: as the neighborhoods around it become ever more gentrified, the Brooklyn Museum will have to decide not only how to accommodate the newer, more affluent arrivals, but how to continue to serve the more economically marginalized communities that were there before.\u003c/p>\n\u003cp>Part of the ire over Kristen Windmuller-Luna’s appointment seems to be related to anxiety on the part of many in black and brown Brooklyn: that their presence is much less relevant than it once was. That’s painful for many black Brooklynites; Brooklyn was often considered the Black Mecca, the cultural center of greater New York’s African diaspora. (It’s where, for instance, millions carouse up Eastern Parkway every Labor Day at the West Indian Day Parade.)\u003c/p>\n\u003cp>“I remember the 1990s and 2000s when (the museum) catered to a more working-class community,” \u003ca href=\"https://hyperallergic.com/436293/coalition-of-anti-gentrification-groups-pressures-brooklyn-museum-to-decolonize/\">Imani Henry told the blog Hyperallergic\u003c/a>. Henry works with Equality for Flatbush, one of several groups involved in trying to slow the pace of gentrification. “The programming felt much more in touch with what was going on in the community.”\u003c/p>\n\u003cp>Henry said that while children’s events a decade ago were majority black, that’s no longer the case. He feels the museum has become gentrified to reflect the affluence in the surrounding neighborhoods.\u003c/p>\n\u003cp>Imani Henry is not objecting to Kristen Windmuller-Luna because of her ethnicity, he told Hyperallergic. “We’re not saying we don’t want a white woman, but we want someone with a commitment to communities.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>By that, Henry means \u003cem>all \u003c/em>the communities the museum was designed to serve: the newly arrived owners of fine brownstones and luxe condos. And certainly the families living in less-elegant neighborhoods, who also want to continue to feel the museum belongs to them, too. \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=Not+Enough+Color+In+American+Art+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A new curator has been named to oversee the Brooklyn Museum's collection of African art. She's got an impressive resume, but she's white, and that's fueling a larger debate about diversity in museums.",
"status": "publish",
"parent": 0,
"modified": 1726701050,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 27,
"wordCount": 1423
},
"headData": {
"title": "Not Enough Color in American Art Museums | KQED",
"description": "A new curator has been named to oversee the Brooklyn Museum's collection of African art. She's got an impressive resume, but she's white, and that's fueling a larger debate about diversity in museums.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Not Enough Color in American Art Museums",
"datePublished": "2018-04-13T12:48:46-07:00",
"dateModified": "2024-09-18T16:10:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jupiterimages",
"nprByline": "Karen Grigsby Bates",
"nprImageAgency": "Getty Images",
"nprStoryId": "601982389",
"nprApiLink": "http://api.npr.org/query?id=601982389&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/codeswitch/2018/04/13/601982389/not-enough-color-in-american-art-museums?ft=nprml&f=601982389",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 13 Apr 2018 06:00:00 -0400",
"nprStoryDate": "Fri, 13 Apr 2018 06:00:12 -0400",
"nprLastModifiedDate": "Fri, 13 Apr 2018 06:00:12 -0400",
"path": "/arts/13829349/not-enough-color-in-american-art-museums",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.newsweek.com/white-woman-named-curator-african-art-brooklyn-museum-865522\" target=\"_blank\" rel=\"noopener\">current furor over the Brooklyn Museum’s appointment of a white woman\u003c/a> to oversee the museum’s African Art collection is not surprising or infuriating to Steven Nelson. Nelson is an African American art historian at UCLA who specializes in African art, and he says, “There are very few of us in the field.”\u003c/p>\n\u003cp>Despite the public assumption that most African art curators in the US are of African descent, Nelson points out, “in the United States, the field is largely made up of white people—and most of those people are female.” So the appointment of Kristen Windmuller-Luna was, for Nelson, business as usual.\u003c/p>\n\u003cp>But some Brooklynites are pushing back. A coalition of community activist organizations, Decolonize This Place, sent a \u003ca href=\"https://decolonizebrooklynmuseum.wordpress.com/\" target=\"_blank\" rel=\"noopener\">strongly worded open letter\u003c/a> to the museum. The group urged management to rethink Windmuller-Luna’s hiring, saying, “No matter how one parses it, the appointment is simply not a good look in this day and age, especially on the part of a museum that prides itself on its relationships with the diverse communities of Brooklyn.”\u003c/p>\n\u003cp>The museum, which is acknowledged to have a more diverse staff than most, responded via \u003ca href=\"https://www.bkreader.com/2018/04/brooklyn-museum-stand-appointment-dr-kristen-windmuller-luna-consulting-curator-african-arts/\" target=\"_blank\" rel=\"noopener\">director Anne Pasternak:\u003c/a> “I am writing to state unequivocally that the Brooklyn Museum stands by our appointment of Dr. Kristen Windmuller-Luna.” Pasternak noted the museum’s collection of African Arts “is among the most important and extensive in the nation” and the new curator was chosen for her deep knowledge and love of the field.\u003c/p>\n\u003cp>\u003cstrong>Gatekeepers of a different culture\u003c/strong>\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>No one is debating Windmuller-Luna’s qualifications (her degrees from Yale and Princeton, and previous museum appointments). They are registering frustration that white people are continually made to be gatekeepers of art from the African Diaspora.\u003c/p>\n\u003cp>“You know,” UCLA’s Steven Nelson continues, “they made two hires, and no one seems upset about the fact that they hired a white guy for photography, which in fact is a much more diverse field than African Art.” What people should \u003cem>really \u003c/em>be up in arms about, Nelson says, is the fact that “there were eight reasonably high-profile hires in the art world over the last couple of weeks, and that seven of those eight are white people.” (One is Asian-American.) “No one batted an eye about that,” he says.\u003c/p>\n\u003cp>For instance, Colin MacKenzie was hired to oversee the Art Institute of Chicago’s extensive Asian art collection. And on Tuesday, New York’s Metropolitan Museum of Art, arguably the most prestigious US museum, announced the appointment of a new director, Max Hollein, who is white, male and European.\u003c/p>\n\u003cp>Former Met director Philippe de Montebello (also white, male, European) dismissed a group request to deliberately search for a female director in one word: “Ridiculous.” Two days after Hollein’s appointment was announced, Liza Oliver, a former Fellow of the museum, and current art history professor at Wellesley College, published a tart opinion piece in the New York Times: “Appointing Yet Another White, Male Director Is a Missed Opportunity for the Met.”\u003c/p>\n\u003cp>\u003cstrong>Non-diversity a systemic problem for most museums\u003c/strong>\u003c/p>\n\u003cp>In 2015, the Andrew W. Mellon Foundation supported \u003ca href=\"https://news.artnet.com/art-world/mellon-foundation-museum-diversity-study-322299\">a survey to gauge ethnic and gender diversity among the country’s museums.\u003c/a> The results were dismaying: according to the survey, 84% of the country’s museum staff (curators, educators, conservators and upper-level administrators) was non-Hispanic white; blacks were 4%, Asian Americans 6%. Native Hawaiians and Native Americans? Zero.\u003c/p>\n\u003cp>Women fared better—at almost 60% of professional museum staff. Significant numbers of non-white staff tended to be in jobs like security, human resources, facilities and finance.\u003c/p>\n\u003cp>Some critics say the lack of people of color in the museum world is a systemic problem that has long needed to be addressed. “As a discipline, art history has been very poor in attracting a diverse group of people interested not only in African art, but in all fields,” UCLA’s Nelson says. He adds that encouraging the interest in art careers has to start in high school and college.\u003c/p>\n\u003cp>\u003cstrong>Removing barriers to entry\u003c/strong>\u003c/p>\n\u003cp>Part of the problem is certainly economic. Internships in galleries and museums often give young people a coveted foot in the door of their intended careers. Those jobs may be prestigious, but they don’t pay much. (Some don’t pay anything.) Like internships in publishing, the movie and television industries, and in talent agencies, the steady stream of interns tends to come from young people who have some financial support other beyond their salaries. Those who have to work to help pay college expenses may have to pass up an internship in the arts, no matter how avidly interested they are in the field.\u003c/p>\n\u003cp>Nelson himself remembers turning down an internship he wanted because he couldn’t afford to take it.\u003c/p>\n\u003cp>So priming the pump to get more people of color into the arts career pipeline is an important part of the solution, one in which museums may have to lend a hand if they want to see a diverse staff. In 2013, \u003ca href=\"https://mellon.org/programs/arts-and-cultural-heritage/art-history-conservation-museums/demographic-survey/\" target=\"_blank\" rel=\"noopener\">Mellon gave a $2.07 million grant\u003c/a> to five large museums, including the Los Angeles County Museum of Art, Atlanta’s High Museum of Art and the Museum of Fine Arts, Houston. The grant funded curatorial fellowships for undergrads and was designed, in the foundation’s words, “to open up the museum as a potential workplace to students from historically underrepresented minorities and other undergraduates who are committed to diversifying our cultural organizations.”\u003c/p>\n\u003cp>If museums are going to last through the 21\u003csup>st\u003c/sup> Century and beyond, it’s critical that they reflect the diversity of the world outside their doors. Museum leaders are aware of this, and have begun looking for ways for their institutions to survive and thrive. One effort was a \u003ca href=\"https://mellon.org/resources/news/articles/case-studies-museum-diversity/\" target=\"_blank\" rel=\"noopener\">Mellon-funded series of case studies\u003c/a>, done in collaboration with the American Association of Museum Directors, which chose eight museums that have managed to encourage diversity, equity and inclusion. Five case studies have been released; three will be released at a later date. The point is to \u003ca href=\"https://www.npr.org/2018/01/07/576219631/how-an-art-museum-is-reaching-a-more-diverse-audience\" target=\"_blank\" rel=\"noopener\">show what these museums have done to diversify\u003c/a>, in the hope that others will be encouraged to follow suit.\u003c/p>\n\u003cp>\u003cstrong>Whose museum?\u003c/strong>\u003c/p>\n\u003cp>The Brooklyn Museum is one of the eight surveyed. \u003ca href=\"http://www.sr.ithaka.org/publications/i-recommend-dancing-brooklyn-museum/\">It’s facing the same challenges as the other museums\u003c/a>, and a more immediate one: as the neighborhoods around it become ever more gentrified, the Brooklyn Museum will have to decide not only how to accommodate the newer, more affluent arrivals, but how to continue to serve the more economically marginalized communities that were there before.\u003c/p>\n\u003cp>Part of the ire over Kristen Windmuller-Luna’s appointment seems to be related to anxiety on the part of many in black and brown Brooklyn: that their presence is much less relevant than it once was. That’s painful for many black Brooklynites; Brooklyn was often considered the Black Mecca, the cultural center of greater New York’s African diaspora. (It’s where, for instance, millions carouse up Eastern Parkway every Labor Day at the West Indian Day Parade.)\u003c/p>\n\u003cp>“I remember the 1990s and 2000s when (the museum) catered to a more working-class community,” \u003ca href=\"https://hyperallergic.com/436293/coalition-of-anti-gentrification-groups-pressures-brooklyn-museum-to-decolonize/\">Imani Henry told the blog Hyperallergic\u003c/a>. Henry works with Equality for Flatbush, one of several groups involved in trying to slow the pace of gentrification. “The programming felt much more in touch with what was going on in the community.”\u003c/p>\n\u003cp>Henry said that while children’s events a decade ago were majority black, that’s no longer the case. He feels the museum has become gentrified to reflect the affluence in the surrounding neighborhoods.\u003c/p>\n\u003cp>Imani Henry is not objecting to Kristen Windmuller-Luna because of her ethnicity, he told Hyperallergic. “We’re not saying we don’t want a white woman, but we want someone with a commitment to communities.”\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>By that, Henry means \u003cem>all \u003c/em>the communities the museum was designed to serve: the newly arrived owners of fine brownstones and luxe condos. And certainly the families living in less-elegant neighborhoods, who also want to continue to feel the museum belongs to them, too. \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=Not+Enough+Color+In+American+Art+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829349/not-enough-color-in-american-art-museums",
"authors": [
"byline_arts_13829349"
],
"categories": [
"arts_1"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13829350",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 1680,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13830324",
"arts_13830284",
"arts_13830250",
"arts_13830174",
"arts_13830037",
"arts_13830063",
"arts_13829947",
"arts_13829930",
"arts_13829632",
"arts_13829539",
"arts_13829484",
"arts_13829349"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_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_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"
},
"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_10589": {
"type": "terms",
"id": "arts_10589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "&Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "&Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10601,
"slug": "music",
"isLoading": false,
"link": "/arts/tag/music"
},
"arts_820": {
"type": "terms",
"id": "arts_820",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "820",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 838,
"slug": "art",
"isLoading": false,
"link": "/arts/tag/art"
},
"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_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_4591": {
"type": "terms",
"id": "arts_4591",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4591",
"found": true
},
"relationships": {},
"featImg": null,
"name": "npr music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "npr music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4603,
"slug": "npr-music",
"isLoading": false,
"link": "/arts/tag/npr-music"
},
"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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_879": {
"type": "terms",
"id": "arts_879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": "Covering dance events in the Bay Area and more.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Covering dance events in the Bay Area and more.",
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 897,
"slug": "dance",
"isLoading": false,
"link": "/arts/tag/dance"
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"arts_1424": {
"type": "terms",
"id": "arts_1424",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1424",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Prince",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Prince Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1436,
"slug": "prince",
"isLoading": false,
"link": "/arts/tag/prince"
},
"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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
}
},
"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
}
}
