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_13815913": {
"type": "attachments",
"id": "arts_13815913",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815913",
"found": true
},
"parent": 13815912,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca.jpg",
"width": 2998,
"height": 2248
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/istock-577327180-cdaa42636a92acad5b36060910fc669b2c5b48ca-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1511815259,
"modified": 1511815259,
"caption": null,
"description": "You've probably been surprised to hear a remarkable song you've never heard pop out of nowhere sometime recently — you're not alone. But as the terms of excavation shift, what are we losin",
"title": "You've probably been surprised to hear a remarkable song you've never heard pop out of nowhere sometime recently — you're not alone. But as the terms of excavation shift, what are we losing?",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815893": {
"type": "attachments",
"id": "arts_13815893",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815893",
"found": true
},
"parent": 13815892,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48.jpg",
"width": 2692,
"height": 1514
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-824100_wide-ab556329af2263873333623308e8aded380afc48-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511811903,
"modified": 1511813429,
"caption": "Steely Dan's Walter Becker, left (who passed away this past September), and Donald Fagan in Los Angeles in 2001.",
"description": "Steely Dan's Walter Becker, left (who passed away this past September), and Donald Fagan in Los Angeles in 2001.",
"title": "Steely Dan's Walter Becker, left (who passed away this past September), and Donald Fagan in Los Angeles in 2001.",
"credit": "Laura Farr/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815833": {
"type": "attachments",
"id": "arts_13815833",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815833",
"found": true
},
"parent": 13815832,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-631x372.jpg",
"width": 631,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1.jpg",
"width": 631,
"height": 420
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/36537480220_d8558980be_z_slide-db0d037b76480f3daa17028ac2ba852c5f9ce7f1-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1511636615,
"modified": 1511636615,
"caption": null,
"description": "Legos have been reliably popular holiday gifts. But fans will have to wait for this 7,500-piece Millennium Falcon. It's sold out, and even when in stock, currently only available to VIP customers.",
"title": "Legos have been reliably popular holiday gifts. But fans will have to wait for this 7,500-piece Millennium Falcon. It's sold out, and even when in stock, currently only available to VIP customers.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815808": {
"type": "attachments",
"id": "arts_13815808",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815808",
"found": true
},
"parent": 13815807,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc.jpg",
"width": 3052,
"height": 1715
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/coco-rgb_c341_34d_pub.pub16.776_wide-49297ae9e277d3cfc33a2cd10ffd0c40b66623dc-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511542005,
"modified": 1511542101,
"caption": "Anthony Gonzalez voices Miguel in 'Coco.'",
"description": "Anthony Gonzalez voices Miguel in 'Coco.'",
"title": "Anthony Gonzalez voices Miguel in Coco.",
"credit": "Pixar",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815765": {
"type": "attachments",
"id": "arts_13815765",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815765",
"found": true
},
"parent": 13815764,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877.jpg",
"width": 3934,
"height": 2212
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-508729916-1a562f86f7166595fd0d7d057c4c0f8079401c4f-e1511395578877-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511394822,
"modified": 1511395544,
"caption": "azz singers, Dave Lambert (left), Annie Ross and Jon Hendricks with Canon L. John Collins on the steps of St Paul's Cathedral in London in 1959. Jon Hendricks died on November 22 at the age of 96.",
"description": "Jazz singers, Dave Lambert (left), Annie Ross and Jon Hendricks with Canon L. John Collins on the steps of St Paul's Cathedral in London in 1959. Jon Hendricks died on November 22 at the age of 96.",
"title": "Jazz singers, Dave Lambert (left), Annie Ross and Jon Hendricks with Canon L. John Collins on the steps of St Paul's Cathedral in London in 1959. Jon Hendricks died on November 22 at the age of 96.",
"credit": "Keystone/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815644": {
"type": "attachments",
"id": "arts_13815644",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815644",
"found": true
},
"parent": 13815643,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f.jpg",
"width": 3535,
"height": 2650
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-3136008-0ed4e83a46c2044ff44c7fafbc3f4e9b3006190f-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1511337274,
"modified": 1511337478,
"caption": "David Cassidy walks down a street in London in April 1974.",
"description": "David Cassidy walks down a street in London in April 1974.",
"title": "David Cassidy walks down a street in London in April 1974.",
"credit": "Ellidge/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815636": {
"type": "attachments",
"id": "arts_13815636",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815636",
"found": true
},
"parent": 13815635,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862.jpg",
"width": 3986,
"height": 2242
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-857703736_slide-c0134245c4f8d236ad5ff2d548b4235f38bf77e0-e1511315928862-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511315070,
"modified": 1511315687,
"caption": "Multiple lawsuits have been filed by victims of the Oct. 1 mass shooting in Las Vegas. The company that owns the Mandalay Bay, MGM Resorts International, is among the parties being sued.",
"description": "Multiple lawsuits have been filed by victims of the Oct. 1 mass shooting in Las Vegas. The company that owns the Mandalay Bay, MGM Resorts International, is among the parties being sued.",
"title": "Multiple lawsuits have been filed by victims of the Oct. 1 mass shooting in Las Vegas. The company that owns the Mandalay Bay, MGM Resorts International, is among the parties being sued.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815578": {
"type": "attachments",
"id": "arts_13815578",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815578",
"found": true
},
"parent": 13815577,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973.jpg",
"width": 1998,
"height": 1123
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/undefined_wide-bbecb3b0be6fa371b59d50366e2506b405724973-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511293623,
"modified": 1511293708,
"caption": "Swedish singer Robyn, performing in Boston. The pop star was one of thousands who signed on to a letter excoriating sexual harassment and abuse in the music industry.",
"description": "Swedish singer Robyn, performing in Boston. The pop star was one of thousands who signed on to a letter excoriating sexual harassment and abuse in the music industry.",
"title": "Swedish singer Robyn, performing in Boston. The pop star was one of thousands who signed on to a letter excoriating sexual harassment and abuse in the music industry.",
"credit": "Natasha Moustache/WireImage",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815571": {
"type": "attachments",
"id": "arts_13815571",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815571",
"found": true
},
"parent": 13815568,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-520x341.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 341
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-160x105.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 105
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-960x630.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 630
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-375x246.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 246
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese.jpg",
"width": 3000,
"height": 1968
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-1020x669.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 669
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-1180x774.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 774
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-800x525.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 525
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-1920x1260.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1260
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-1180x774.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 774
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-1920x1260.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1260
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-768x504.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 504
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/Della-Reese-240x157.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 157
}
},
"publishDate": 1511281756,
"modified": 1511281821,
"caption": "Della Reese performs onstage at B.B. King's 80th birthday celebration at the home of Sam and Mary Haskell on September 20, 2005 in Encino, California. ",
"description": "Della Reese performs onstage at B.B. King's 80th birthday celebration at the home of Sam and Mary Haskell on September 20, 2005 in Encino, California. ",
"title": "B.B. King's 80th Birthday Celebration and Museum Fundraiser",
"credit": "Amanda Edwards/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815489": {
"type": "attachments",
"id": "arts_13815489",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815489",
"found": true
},
"parent": 13815488,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489.jpg",
"width": 2495,
"height": 1403
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/gettyimages-496505368_custom-f90f6d3294ecf0ec5c9f0fa6672bbad09546fba8-e1511203950489-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1511202515,
"modified": 1511203349,
"caption": "\"I don't see how I can return,\" said 'Transparent' star Jeffrey Tambor. As Amazon Studios investigates two allegations against the actor, no official decision has been made about Tambor's future with the show.",
"description": "\"I don't see how I can return,\" said \u003cem>Transparent\u003c/em> star Jeffrey Tambor. As Amazon Studios investigates two allegations against the actor, no official decision has been made about Tambor's future with the show.",
"title": "\"I don't see how I can return,\" said Transparent star Jeffrey Tambor. As Amazon Studios investigates two allegations against the actor, no official decision has been made about Tambor's future with the show.",
"credit": "Alberto E. Rodriguez/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815404": {
"type": "attachments",
"id": "arts_13815404",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815404",
"found": true
},
"parent": 13815403,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-520x347.png",
"width": 520,
"mimeType": "image/png",
"height": 347
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-160x107.png",
"width": 160,
"mimeType": "image/png",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-628x372.png",
"width": 628,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-375x250.png",
"width": 375,
"mimeType": "image/png",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e.png",
"width": 628,
"height": 419
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/silverman2_slide-a8d89bf18814c7765292d024fb7f1da7ac95b43e-240x160.png",
"width": 240,
"mimeType": "image/png",
"height": 160
}
},
"publishDate": 1511023038,
"modified": 1511023190,
"caption": "In a monologue on her Hulu show I Love You, America, comedian Sarah Silverman described the sadness and anger she feels about her friend Louis C.K., following his admission of sexual misconduct.",
"description": "In a monologue on her Hulu show I Love You, America, comedian Sarah Silverman described the sadness and anger she feels about her friend Louis C.K., following his admission of sexual misconduct.",
"title": "In a monologue on her Hulu show I Love You, America, comedian Sarah Silverman described the sadness and anger she feels about her friend Louis C.K., following his admission of sexual misconduct.",
"credit": "Screengrab by NPR/I Love You America on YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13815161": {
"type": "attachments",
"id": "arts_13815161",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13815161",
"found": true
},
"parent": 13815160,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb.jpg",
"width": 1406,
"height": 791
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/three-billboards-outside-ebbing-missouri-004_3b_05858_rgb_wide-893bf47444862bfa79e578f5ea6c8ae9f636f5bb-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1510796000,
"modified": 1510796000,
"caption": null,
"description": "Swing and a Diss: Mildred (Frances McDormand) and Willoughby (Woody Harrelson) discuss Mildred's Burma-Shave-inspired quest for justice in \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>",
"title": "Swing and a Diss: Mildred (Frances McDormand) and Willoughby (Woody Harrelson) discuss Mildred's Burma-Shave-inspired quest for justice in Three Billboards Outside Ebbing, Missouri.",
"credit": null,
"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_13815912": {
"type": "authors",
"id": "byline_arts_13815912",
"meta": {
"override": true
},
"slug": "byline_arts_13815912",
"name": "Ben Ratliff",
"isLoading": false
},
"byline_arts_13815892": {
"type": "authors",
"id": "byline_arts_13815892",
"meta": {
"override": true
},
"slug": "byline_arts_13815892",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_13815832": {
"type": "authors",
"id": "byline_arts_13815832",
"meta": {
"override": true
},
"slug": "byline_arts_13815832",
"name": "Rebecca Feldhaus Adams",
"isLoading": false
},
"byline_arts_13815807": {
"type": "authors",
"id": "byline_arts_13815807",
"meta": {
"override": true
},
"slug": "byline_arts_13815807",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_13815764": {
"type": "authors",
"id": "byline_arts_13815764",
"meta": {
"override": true
},
"slug": "byline_arts_13815764",
"name": "Lara Pellegrinelli",
"isLoading": false
},
"byline_arts_13815643": {
"type": "authors",
"id": "byline_arts_13815643",
"meta": {
"override": true
},
"slug": "byline_arts_13815643",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13815635": {
"type": "authors",
"id": "byline_arts_13815635",
"meta": {
"override": true
},
"slug": "byline_arts_13815635",
"name": "Laurel Wamsley",
"isLoading": false
},
"byline_arts_13815577": {
"type": "authors",
"id": "byline_arts_13815577",
"meta": {
"override": true
},
"slug": "byline_arts_13815577",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_13815568": {
"type": "authors",
"id": "byline_arts_13815568",
"meta": {
"override": true
},
"slug": "byline_arts_13815568",
"name": "Merrit Kennedy",
"isLoading": false
},
"byline_arts_13815488": {
"type": "authors",
"id": "byline_arts_13815488",
"meta": {
"override": true
},
"slug": "byline_arts_13815488",
"name": "Emma Bowman",
"isLoading": false
},
"byline_arts_13815403": {
"type": "authors",
"id": "byline_arts_13815403",
"meta": {
"override": true
},
"slug": "byline_arts_13815403",
"name": "Laurel Wamsley",
"isLoading": false
},
"byline_arts_13815160": {
"type": "authors",
"id": "byline_arts_13815160",
"meta": {
"override": true
},
"slug": "byline_arts_13815160",
"name": "Chris Klimek",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.26236
},
"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": 150
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 150
}
},
{
"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_13815912": {
"type": "posts",
"id": "arts_13815912",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815912",
"score": null,
"sort": [
1511823610000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511823610,
"format": "image",
"title": "Within the Context of All Contexts: The Rewiring of Our Relationship to Music",
"headTitle": "Within the Context of All Contexts: The Rewiring of Our Relationship to Music | KQED",
"content": "\u003cp>\u003cstrong>Imagine you are\u003c/strong> in an averagely pleasant pub in Manhattan, talking to a couple of people, half-listening to the music being played from the ceiling speakers, until a song from the distant past makes you start listening closely.\u003c/p>\n\u003cp>The song is Homer Banks’ “\u003ca href=\"https://www.youtube.com/watch?v=CrMgLRZ6Wzk\" target=\"_blank\" rel=\"noopener\">60 Minutes of Your Love\u003c/a>,” from 1966, which was not an American hit, but became a favorite in the English mod club-dancer’s canon of rediscovery called Northern Soul. Now this is a \u003cem>song\u003c/em>: undiluted momentum from the first beat, one satisfying jolt after another. There you are, having an encounter with music’s past. You point at the ceiling in recognition. You realize that you have been pointing at the ceiling more often lately.\u003c/p>\n\u003cp>All right: “You” is really me. I am a music critic, for whom all songs carry some kind of coding. I would be paying attention anyway — but I have a feeling you’d have noticed that song too. A while after Homer Banks, Ruth Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=OA2U5Rh8-qg\" target=\"_blank\" rel=\"noopener\">Wild, Wild Young Men\u003c/a>,” from 1953, came on. Ruth Brown is in the Rock and Roll Hall of Fame and her song \u003cem>was \u003c/em>a hit, rising to No. 3 on the R&B charts that year; even so, you’d need to have a pretty decent grip on the history of American music to know it by ear. Later, I heard a few southern rock-shuffles strung together, including ZZ Top’s famous “\u003ca href=\"https://www.youtube.com/watch?v=Vppbdf-qtGU\" target=\"_blank\" rel=\"noopener\">La Grange\u003c/a>” and a more recent and more leaden one that I felt I should know and didn’t. (It bothered me that I didn’t.) And then, out of the blue: Blind Melon’s “\u003ca href=\"https://www.youtube.com/watch?v=3qVPNONdF58\" target=\"_blank\" rel=\"noopener\">No Rain\u003c/a>,” a doughy song that seemed to be for some other place than this one, an early ’90s MTV hit which I suspect far more people know than like. It felt even more shallow than usual, by virtue of the depth that had preceded it.\u003c/p>\n\u003cp>Clearly, I was listening to a streaming-service algorithm. The overall sequence made no sense. The music in that place, while I was there, at first felt like a gift — and then like an encounter with an alien presence. It had “taste” — and then no-taste. (Not “tastelessness,” but an \u003cem>absence\u003c/em> of so-called taste.) The signifiers had gone haywire.\u003c/p>\n\u003cp>Part of becoming an adult is learning to recognize cultural signifiers, which tell you something about where you are and who’s behind the bar and what kind of time you might be having before you leave. These signifiers (not just musical ones) always, in some way, have to do with history, with the past. That Blind Melon song retroactively soured the Homer Banks encounter a little. Also, I recognized that Homer Banks song, but what if I didn’t? The appropriate or typical response to it in our time might not be \u003cem>this is part of a tradition about which I want to know more, \u003c/em>but rather: \u003cem>what the hell is this? \u003c/em>And then, maybe, at best, a\u003cem> \u003c/em>half-step further: \u003cem>What’s the footprint of this thing? How many views on YouTube? Who knew about it first? How did this escape me? How did it find me? \u003c/em>And so on. A paradoxical reaction, both uninformed and\u003cem> \u003c/em>connoisseur-ish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a different example. A few weeks ago, in my Discover Weekly playlist on Spotify — constructed by an algorithm for someone of my data-set – came “\u003ca href=\"https://www.youtube.com/watch?v=gLyoHrZ1kqY\" target=\"_blank\" rel=\"noopener\">Pourquoi Tu Me Fous Plus des Coups?\u003c/a>,” an electro-pop love song, a good one, by the French-Vietnamese singer An Luu. I put its lyrics into a translation engine: The conceit of the song is domestic abuse — one of those he-hit-me-and-it-felt-like-a-kiss songs, a complicated and disconcerting trope that also comes up in Bessie Smith, Rodgers and Hammerstein, The Crystals and Lana Del Rey. I’d never heard of An Luu,\u003cem> \u003c/em>so\u003cem> \u003c/em>I looked her up online. Oh, okay — she’s an actor; she was in the movie \u003cem>Diva. \u003c/em>I remember that. Otherwise, not much there. A YouTube video with about 10,000 views, and also a \u003ca href=\"http://blog.joshuadsites.com/2017/04/25/todays-lesson-an-luu-pourquoi-tu-me-fous-plus-des-coups/\" target=\"_blank\" rel=\"noopener\">blog post about it\u003c/a> written a few months ago by a media-studies Ph.D in Indiana. “I don’t know how or why Spotify recommended this track to me,” that Ph.D student wrote, “but I sure am grateful they did.” Like me, he was registering the surprise of secondary use. Meaning: He didn’t come to the song because something led him toward the work of An Luu, French-Vietnamese actor and singer, in and of herself. He came to it incidentally, because Spotify used it, within a playlist, as an act of seduction by orphaned data.\u003c/p>\n\u003cp>I’d want to know who An Luu is and what else she did and what led her to record “Pourquoi Tu Me Fous Plus des Coups?” (The song was written, unsurprisingly, by two men — Jacques Duvall and Philipe Chany.) But Spotify won’t tell me any of that, because Spotify tells you very little. Instead, I’m given an encounter that ends with me wondering: \u003cem>What the hell is this? \u003c/em>Nevertheless, now I recognize the song, for what it’s worth.\u003c/p>\n\u003cp>My sense is that such encounters, just like encountering little-known songs in movies and advertisements and new TV shows (such as when the funk-pop slow-dance “\u003ca href=\"https://www.youtube.com/watch?v=ODgezpIjR9k\" target=\"_blank\" rel=\"noopener\">Amarsi Un Po\u003c/a>” by Lucio Battisti, a wise and searching Italian pop singer of the ’70s and ’80s who never had any American audience whatsoever, appeared on \u003cem>Master of None\u003c/em> last spring) are changing, perhaps subtly, what we are looking for from the past. And just as importantly, what we are getting.\u003c/p>\n\u003cp>I’m going to generalize for a minute. The new assumption we carry around is that we know most of what we need to know because of the considerable labor most of us put into using social media and streaming services. If you use them, think of how many ideas, observations, warnings, judgments, alarms, images, videos and sounds you absorb regularly. The neuroscientist Daniel Levitin has, by some wild math, estimated the information intake of a social-media user as similar to reading 175 newspapers per day. I would imagine this all leads us to feel we recognize what is “relevant” simply because we feel the fatigue of so much keeping up. If something escapes our attention, it must be pretty negligible. Relevance, as logic requires, is finite. If it weren’t, then everything would be relevant, and there would be no use for the concept. What really takes us by surprise is when we hear music that has perhaps never been important to our way of thinking but is somehow smuggled into our presence. We experience a feeling of temporary disbelief, or of being privy to an alternate reality. It’s lucky to get our attention.\u003c/p>\n\u003cp>Old music, reframed or brought into new circulation, can be as dynamic and unpredictable as new music. Its work is not done by the end of its own epoch. This was always so, but once, only a small number of people truly knew it; scholars, mostly, who understand that the past evolves by our understanding of its context. People like Mary Beard, the Cambridge professor of ancient Greek and Latin languages and history, who \u003ca href=\"http://www.nybooks.com/articles/2012/01/12/do-classics-have-future/\" target=\"_blank\" rel=\"noopener\">wrote in a 2012 essay\u003c/a> that “the study of the Classics is the study of what happens in the gap between antiquity and ourselves.”\u003c/p>\n\u003cp>College-radio DJs, a guild whose influence is disappearing, knew too. I was one during what I take to be the first great wave of reissued popular music, the mid-’80s. American roots music issued from little record labels in Massachusetts, California, Germany, England; Rounder, Arhoolie, Bear Family, Charly, Ace. (Reissues of funk, disco, electronic and psychedelic music came slightly later.) When Ace, an English label, released B. B. King’s music from the 1950s in an ongoing series of LPs during the mid-’80s, there was a sense that a presidential door had been unbolted. These extravagant outpourings of blues, massive and sophisticated and virtuosic, weren’t really accessible in any other way. There was no YouTube, no Amazon, no Discogs, no Spotify. Even when Ace made it available, this music would not probably reach you unless you moved toward it — and when you did, you committed yourself a little. Here was the past as national library, offering you on the back cover what sober and legitimate context was required, but otherwise letting the work, in considerable quantities, stand for its own powerful self.\u003c/p>\n\u003cp>Around the same time came a different orientation to the past, typified by the Norton label, run by Miriam Linna and Billy Miller. Norton presented American music from the ’50s and ’60s as regional and eccentric and extreme. Hits, in Norton logic, were exceptions; the more common reality was a bunch of tapes made by nobodies like Hasil Adkins, Wade Curtiss and Jack Starr. “The idea was the discovery of stuff that was not available at all,” Linna told me. “We hated to call ourselves a reissue label — we wanted to find people whose music was \u003cem>never\u003c/em> released.” Here was the past as delirious garage-cult fandom, with lots of information attached, and it was just as immersive as the legit kind — again, as long as \u003cem>you went toward it\u003c/em>, rather than \u003cem>waiting for it to come toward you\u003c/em>.\u003c/p>\n\u003cp>When I think about listening to those B.B. King records in 1986, I am thinking of a time when the role of music’s present was usually surprise, counter-argument and probable oblivion. The role of music’s past was confirmation, grounding, study and possible immortality. My sense is that these roles are being reversed. In 2014, Daniel Ek, the CEO of Spotify, said to the \u003cem>New Yorker\u003c/em> journalist John Seabrook: “We’re not in the music space — we’re in the moment space.” This implies that music’s past could become a sequence of brief, discontinuous moments, like quick-fading Snapchat pictures.\u003c/p>\n\u003cp>Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. I liked that idea, and I imagine Mary Beard would too. But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape.\u003c/p>\n\u003cfigure id=\"attachment_13815921\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cassette.jpg\" alt=\"Audio cassette.\" width=\"500\" height=\"323\" class=\"size-full wp-image-13815921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-375x242.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Audio cassette. \u003ccite>(Serts/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My encounter with Homer Banks\u003c/strong> happened during a conversation I was having in an Irish pub with Ken Shipley and Rob Sevier, who run the Numero Group, a Chicago-based label for reissuing old music. They have worked together for 15 years, long enough to become foils: Shipley is sparky and associative, optimistically building theories, and Sevier is saturnine and skeptical, taking them apart.\u003c/p>\n\u003cp>They were in Manhattan on scouting trips. The day before, they’d visited a private collector of instructional belly-dancing records in Brooklyn; they’re working on a project about what they called “appropriated ethnic music.” After meeting me, they were off to visit a New York avant-gardist of great stature with a promising archive of early work. They spend long periods of time working on multiple deep and esoteric projects simultaneously, finding master tapes, securing the rights, then doing the complicated work of re-framing the past. This is their passion.\u003c/p>\n\u003cp>Are they obscurity snobs? Probably. But beyond that, they are betting on a belief that even average listeners know there is more to the history of music than what has been placed before them by radio, algorithms or the happenstance of social media. Their work has originality and integrity as \u003cem>primary-use\u003c/em> culture — you buy, you \u003cem>move towards\u003c/em>, a Numero Group record or box set dedicated to a single artist or label from the past, beautifully designed and well-annotated, and you’re going to learn a lot. But primary use isn’t paying the bills anymore.\u003c/p>\n\u003cp>“Ten years ago, it didn’t take any effort to sell 5 to 10,000 CDs,” Shipley told me. “Now you’re lucky if you can sell 3,000.” Just recently, as they noticed in their last round of royalty statements, Numero has started to sell more LPs than CDs. And though there has been a gradual rise in the sales of LPs, the few small (actual) stores that sell them, as Shipley explained, prioritize LPs that young people are actually going to buy. The Beatles’ \u003cem>Abbey Road\u003c/em>, Metallica’s \u003cem>Kill ‘Em All\u003c/em>, and so on. There may not be room in the bin for obscure soul records after that. The LP revival does not lift all boats.\u003c/p>\n\u003cp>Not long ago, they realized the vastness of their interests was outpacing the market. They’d been great at the game of reframing the past and won Grammys for their work, but were now sitting on dead stock. As a consequence, they are putting out far fewer records now, a fifth as many as they did four years ago. And their priority, increasingly, is to be able to administer the “sync rights” (synchronization rights, for songs to be used in movies or TV or in ads) themselves. They’ve negotiated for songs — mostly American music from the ’60s and ’70s — in many movies: \u003cem>The Circle, The Trust, Loving \u003c/em>— lots and lots. Take my word for it. If you don’t talk about music while pointing at the ceiling in bars, perhaps you are doing it while pointing at the television. Same thing. You are pointing at the means of production. Secondary use.\u003c/p>\n\u003cp>“Our business is changing away from being a record company to being a copyright company, which is kind of ugly,” Shipley said. From primary to secondary. “But: You make these records, they’re really beautiful, and the record audience is actually really minimal. I don’t care who you talk to” — here he named four other pre-eminent “reissue” labels — “Light in the Attic, Ace, Rhino, Now Again. Physical business is not the business any more, it can’t survive on selling CDs and LPs. It’s not a sustainable way of thinking about copyrights. The sustainable way is to figure out: One, how can you get something to stream as many times as possible? Two, how can you put it in a film, television show, or advertisement? Those are the two avenues for historical music that are available to finance it.”\u003c/p>\n\u003cp>They hope that the \u003ca href=\"https://open.spotify.com/user/numerogroup/playlist/52WrPQG9sn9xVS9PK00i2z\" target=\"_blank\" rel=\"noopener\">’60s Girl Group playlist\u003c/a> they made for Spotify, full of obscurities, called “Basement Beehive,” will become more widely listened to than the mainstream-oriented one created by Spotify. (It’s making gains. It could happen.)\u003c/p>\n\u003cp>Actively reframing the past is another way. Shipley and Sevier, who are putting their fingerprints on currents in music of the past that did not have a name or genre: “Kid Soul” (little-known Motown-era bands with pre-adolescent singers), “Black Vietnam” (war-haunted ’70s soul and funk). They’re taking many approaches: national-library, garage-cult, critical reframing \u003cem>and\u003c/em> playlisting. They are sharing minute obsessions for fun, because obsession is fun, and it is communicable. But they are also challenging theories of relevance.\u003c/p>\n\u003cp>“We’re reframing in a way that \u003cem>corrects for hits,” \u003c/em>Sevier told me. “Look at what the history of popular music is at any given point. What’s focused on are the hits. We’re getting into what happened at the time and creating a restructured version that just looks at what happened in the scene, but doesn’t have anything to do with hits. Isn’t interested in it.” The restructured version doesn’t just rule out big, dumb pop music; it might rule out B. B. King, too. But their theory is still legitimate. The American imagination, and American media, can stand to devote more time considering what was \u003cem>not\u003c/em> made successful by the usual commercial forces.\u003c/p>\n\u003cp>When I pointed at the ceiling, Shipley and Sevier both made the same doubtful face. They were listening to the whole sequence of songs, not just the one that got me excited. This, I said to them, must be the real challenge in your work — it’s easy now to have an \u003cem>adequately new\u003c/em> experience with old music. You don’t need to be curious about anything in particular; you just leave it to an algorithm or a new Netflix show and you’ll hear something you don’t know. They looked at me as if I didn’t know the half of it. Or a fifth of it.\u003c/p>\n\u003cp>\u003cstrong>As Shipley suggested\u003c/strong>, I spoke to Matt Sullivan, of Light in the Attic, founded in 2002. “The sync world… to be frank, it’s one of the last bastions of making a living in music,” he said. His label, he explained, had hired one person to work on licensing ten years ago — now it has three. “There are more original TV shows,” he said, “and a lot of supervisors now — this has been building for the last 15 or 20 years — come from a college radio or record-store background. \u003cem>Master of None\u003c/em>, or \u003cem>Fargo\u003c/em>, these shows have phenomenal music. They’re almost the new form of college radio, in terms of a discovery tool.”\u003c/p>\n\u003cp>This seems true. You want to know about new hip-hop and R&B? Watch \u003cem>Insecure. \u003c/em>You want to see music used with subtlety as a mood, or as an extension of the character? Watch the shows Sullivan mentioned, or \u003cem>Transparent, \u003c/em>or \u003cem>Big Little Lies\u003c/em>, whose music supervisor, Susan Jacobs, very recently won the first-ever Emmy for music supervision.\u003c/p>\n\u003cp>Like Numero Group, Light in the Attic has released some of the most interesting records of the last 15 years: its \u003cem>Native North America \u003c/em>compilation of Canadian Native-American folk-rock; the catalogs of Lizzie Mercier Descloux, Betty Davis, Françoise Hardy, and Rodriguez, all of which can reorder and expand the histories of pop you have in your head. It just put out a collection of the work of the 1990s Los Angeles post-rock band Acetone, a band which for me certainly needed reframing, since I ignored them at the time. At the moment, starting with the compilation \u003cem>Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973\u003c/em>, the label is looking toward Japanese pop from the ’70s and ’80s, the next frontier for discophiles — and if Sullivan is lucky, for secondary use.\u003c/p>\n\u003cp>It could be that the current generation of music supervisors for TV and film are establishing a new express lane that connects a certain kind of obscurantist taste (mining for overlooked artists who are either representative or unusual, but not exceptional in the old way, the stun-you-up-front, accomplished-all-around way of B.B. King, or Aretha Franklin, or Prince) and the most powerful secondary-source platforms for music. From there, they all run together; an obscure old song that gains traction in a film or TV show can quickly enter streaming-service playlists.\u003c/p>\n\u003cfigure id=\"attachment_13815922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg\" alt=\"Our relationships to music are dictated by the means of its transmission to us\" width=\"800\" height=\"392\" class=\"size-medium wp-image-13815922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-768x376.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1180x578.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-960x470.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-520x255.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Our relationships to music are dictated by the means of its transmission to us \u003ccite>(Getty/Glasshouse Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I can fancy a man,”\u003c/strong> wrote Oscar Wilde in \u003cem>The Critic as Artist\u003c/em>, “who had led a perfectly commonplace life, hearing by chance some curious piece of music, and suddenly discovering that his soul, without his being conscious of it, had passed through terrible experiences, and known fearful joys, or wild romantic loves, or great renunciations.” Music is particularly good at suggesting a kind of alternative past for the listener, Wilde argued, because it is always implying motion, and because it has a life of its own. It can’t be bound by the intention of the composer.\u003c/p>\n\u003cp>Zach Cowie might disagree. I used to correspond with him 15 years ago when he worked as a publicist for Drag City records, and it was clear that he knew more about music than most of the writers he was helping. He is now one of the music supervisors for \u003cem>Master of None\u003c/em> (he and Kerri Drootin are responsible for that Lucio Battisti moment at the end of that show’s second season). They were also nominated for the music-supervising Emmy this year. He finds himself in an interesting position: His job is encouraging secondary use, but he worries about what secondary use is doing to music.\u003c/p>\n\u003cp>“I don’t think any music goes beyond its intention,” he told me. “And a lot of music that is being passed my way as a supervisor has a commercial intent. A lot of reasons got us to this point, but I can detect it right away. My interest in finding these old things is to find music that was made for the \u003cem>sake of making music,”\u003c/em> he said. “Music-making has changed so much since the era of everything’s-available, to where I hear more direct derivativeness than ever before. I get pitched stuff all day: ‘Imagine Kate Bush fronting Kraftwerk!’ Well, the reason I love Kate Bush and I love Kraftwerk is because they never wanted to be anything other than themselves.”\u003c/p>\n\u003cp>If Cowie is right — and if the commercial intent of more and more new music is, increasingly, for secondary use — what then? Will ahistoricism eventually make all music even out? The English theorist and critic Mark Fisher, who died earlier this year at the age of 48, had a Marxist answer to this question. Capitalism, as he wrote about it in the books \u003cem>Capitalist Realism \u003c/em>and \u003cem>Ghosts of My Life, \u003c/em>unhitches us from a structured idea of history and makes us unable to imagine a future of any kind, including a future of art. He noticed that pastiche was all around us in pop music of the ’80s, coming with quotation marks included. But around the turn of the 21st century, he argued, the quotation marks came off, resulting in bands like the Arctic Monkeys. “They’re clearly a retro group,” he said in \u003ca href=\"http://crackmagazine.net/article/music/mark-fisher-interviewed/\">an interview from 2014\u003c/a>, “but the category of retro doesn’t make any sense anymore because it’s retro compared to what?” It was around 2003, in his estimation, when he felt that listeners on a grand scale got used to the idea that they would never hear anything new again.\u003c/p>\n\u003cp>I’m sympathetic to that idea, but I can’t fully get on board with it. Fisher was generally talking about pop music, which carries the profit motive genetically. But pop music isn’t all music, and it makes sense that what lives by capitalism may die by it. I have spent a lot of time writing and thinking about music in which innovation happens slowly, and in which tendencies that might otherwise be known as “retro” are really strategies for survival, for learning from the elder spirits. In jazz, the elder spirits are often still alive, playing, sometimes giving lessons. Then there’s hip-hop. Hip-hop’s never satisfied for long. It comes with aspirations of change.\u003c/p>\n\u003cp>This isn’t a bad period for music’s past. (No time ever was.) And it has some clear advantages — a mania about stories, stoked by public radio and podcasts and documentaries; the everything’s-available assumption, making what is \u003cem>not \u003c/em>available seem exotically attractive; a sense of sociocultural reparation, leading the charge in bringing some artists back to light; and a furious new intensity of research, which is a byproduct of all the other advantages. (For example, A 12,000-word essay accompanies Numero’s Hüsker Dü box set.) Now may be the time of passive encounters and secondary use, but it is also the time of the Julius Eastman revival. Eastman, the New York composer who died in 1990, was uncannily contemporary —an honorary citizen of \u003cem>now\u003c/em> — in his forthright blackness, gayness, and disinterest in institutional power. The reissue culture of the last few years has directed us to his recorded music and has started to bring his repertory into contemporary music ensembles. None of this happened because of ahistoricism — quite the opposite.\u003c/p>\n\u003cp>But what if the real proof of Eastman’s relevance is if his music becomes used for TV shows and streaming playlists, and thereafter lives only as vague allusions in the music of others who want their tunes to be picked up for later secondary use?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg\" alt=\"\" width=\"500\" height=\"275\" class=\"alignright size-full wp-image-13815924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-160x88.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-240x132.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-375x206.jpeg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>\u003cstrong>The real lesson of the past\u003c/strong>, now that cultural artifacts have become so easy to share, is the unwieldiness of it. Once there wasn’t enough, now there’s too much to go around. A national-library approach to old music, understanding artists of special stature in and of themselves, may be respectful and responsible and history-minded, but isn’t the only way, and can hardly be trusted. Who has bestowed the special stature? And what’s their stake in it?\u003c/p>\n\u003cp>One of my recent interests is an English label, or some kind of music-organizing entity called \u003ca href=\"https://twitter.com/deathisnot?lang=en\">Death Is Not the End\u003c/a>, run by Luke Owen. He finished university seven years ago, he told me, and has worked for record distributors ever since, surrounded by old music. He has put together a series of brilliant shows for NTS — an English, web-based radio-station — filled with music still lurking below the level of collection, from pre-LP times, from the radio, from microphones someone stuck in the air at a certain time and place. The shows overlap with what he has released on his label, mostly digitally or in small editions on cassette. One of his recent shows, in mid-August, was \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">an edit of various tapes\u003c/a> from from reggae sound-clash and sound-system sets in London during the ’80s and ’90s. They represent hectic places. The backing tracks stop and start, the singers and toasters wail and imprecate and drift in and out, including one called Screamer, who made me think, much like Wilde’s man, \u003cem>I’ve been there. \u003c/em>They’re not unlike field recordings, and as with many field recordings, there’s not a lot of information attached to this music. The assumption, somehow, on behalf of someone, is that you don’t want to know the information, or it’s unknowable, or it’s all better when presented as an uncanny mystery. I’ve looked up Screamer. Next to nothing. Less than An Luu.\u003c/p>\n\u003cp>The recordings come from sites like \u003ca href=\"http://whocorkthedance.com\" target=\"_blank\" rel=\"noopener\">Who Cork The Dance\u003c/a>, among others—online storage-houses of old soundsystem tapes. This isn’t ephemera, it’s the true broth. \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">The sound-clash program\u003c/a> was one of the best things I’ve heard in months. I went toward it, learned from it, made primary use of it. But I also got a major hit of the uncanny feeling, the punch-in-the-neck feeling. I wondered what was rendering this music especially attractive to me: the indistinct, slurry-like sound quality? The density of the action, making me conjure the place? The ongoingness and never-endingness of it, such that one thing is pretty much as good as the next? The fact that I don’t know how to find out more about Screamer?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>What’s the worst\u003c/strong> that can happen? Oh, I don’t know — where to begin? That new music won’t suggest a future; that the only viable use of music’s past is as ahistorical amusement to accompany scripted stories or conversations in bars; and every note ever played will level out into a vaguely seductive past-present. Perhaps, at that point, all music will become field recordings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Within+The+Context+Of+All+Contexts%3A+The+Rewiring+Of+Our+Relationship+To+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 4862,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 42
},
"modified": 1705029034,
"excerpt": "You've probably been surprised to hear a remarkable song you've never heard pop out of nowhere sometime recently — you're not alone. But as the terms of excavation shift, what are we losing?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "You've probably been surprised to hear a remarkable song you've never heard pop out of nowhere sometime recently — you're not alone. But as the terms of excavation shift, what are we losing?",
"title": "Within the Context of All Contexts: The Rewiring of Our Relationship to Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Within the Context of All Contexts: The Rewiring of Our Relationship to Music",
"datePublished": "2017-11-27T15:00:10-08:00",
"dateModified": "2024-01-11T19:10:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "within-the-context-of-all-contexts-the-rewiring-of-our-relationship-to-music",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=565968260&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ben Ratliff",
"nprStoryDate": "Mon, 27 Nov 2017 06:00:46 -0500",
"nprLastModifiedDate": "Mon, 27 Nov 2017 06:00:46 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2017/11/27/565968260/within-the-context-of-all-contexts-the-rewiring-of-our-relationship-to-music?ft=nprml&f=565968260",
"nprImageAgency": "Getty Images/iStockphoto",
"nprImageCredit": "martinwimmer",
"nprStoryId": "565968260",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 27 Nov 2017 06:00:00 -0500",
"path": "/arts/13815912/within-the-context-of-all-contexts-the-rewiring-of-our-relationship-to-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Imagine you are\u003c/strong> in an averagely pleasant pub in Manhattan, talking to a couple of people, half-listening to the music being played from the ceiling speakers, until a song from the distant past makes you start listening closely.\u003c/p>\n\u003cp>The song is Homer Banks’ “\u003ca href=\"https://www.youtube.com/watch?v=CrMgLRZ6Wzk\" target=\"_blank\" rel=\"noopener\">60 Minutes of Your Love\u003c/a>,” from 1966, which was not an American hit, but became a favorite in the English mod club-dancer’s canon of rediscovery called Northern Soul. Now this is a \u003cem>song\u003c/em>: undiluted momentum from the first beat, one satisfying jolt after another. There you are, having an encounter with music’s past. You point at the ceiling in recognition. You realize that you have been pointing at the ceiling more often lately.\u003c/p>\n\u003cp>All right: “You” is really me. I am a music critic, for whom all songs carry some kind of coding. I would be paying attention anyway — but I have a feeling you’d have noticed that song too. A while after Homer Banks, Ruth Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=OA2U5Rh8-qg\" target=\"_blank\" rel=\"noopener\">Wild, Wild Young Men\u003c/a>,” from 1953, came on. Ruth Brown is in the Rock and Roll Hall of Fame and her song \u003cem>was \u003c/em>a hit, rising to No. 3 on the R&B charts that year; even so, you’d need to have a pretty decent grip on the history of American music to know it by ear. Later, I heard a few southern rock-shuffles strung together, including ZZ Top’s famous “\u003ca href=\"https://www.youtube.com/watch?v=Vppbdf-qtGU\" target=\"_blank\" rel=\"noopener\">La Grange\u003c/a>” and a more recent and more leaden one that I felt I should know and didn’t. (It bothered me that I didn’t.) And then, out of the blue: Blind Melon’s “\u003ca href=\"https://www.youtube.com/watch?v=3qVPNONdF58\" target=\"_blank\" rel=\"noopener\">No Rain\u003c/a>,” a doughy song that seemed to be for some other place than this one, an early ’90s MTV hit which I suspect far more people know than like. It felt even more shallow than usual, by virtue of the depth that had preceded it.\u003c/p>\n\u003cp>Clearly, I was listening to a streaming-service algorithm. The overall sequence made no sense. The music in that place, while I was there, at first felt like a gift — and then like an encounter with an alien presence. It had “taste” — and then no-taste. (Not “tastelessness,” but an \u003cem>absence\u003c/em> of so-called taste.) The signifiers had gone haywire.\u003c/p>\n\u003cp>Part of becoming an adult is learning to recognize cultural signifiers, which tell you something about where you are and who’s behind the bar and what kind of time you might be having before you leave. These signifiers (not just musical ones) always, in some way, have to do with history, with the past. That Blind Melon song retroactively soured the Homer Banks encounter a little. Also, I recognized that Homer Banks song, but what if I didn’t? The appropriate or typical response to it in our time might not be \u003cem>this is part of a tradition about which I want to know more, \u003c/em>but rather: \u003cem>what the hell is this? \u003c/em>And then, maybe, at best, a\u003cem> \u003c/em>half-step further: \u003cem>What’s the footprint of this thing? How many views on YouTube? Who knew about it first? How did this escape me? How did it find me? \u003c/em>And so on. A paradoxical reaction, both uninformed and\u003cem> \u003c/em>connoisseur-ish.\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>Here’s a different example. A few weeks ago, in my Discover Weekly playlist on Spotify — constructed by an algorithm for someone of my data-set – came “\u003ca href=\"https://www.youtube.com/watch?v=gLyoHrZ1kqY\" target=\"_blank\" rel=\"noopener\">Pourquoi Tu Me Fous Plus des Coups?\u003c/a>,” an electro-pop love song, a good one, by the French-Vietnamese singer An Luu. I put its lyrics into a translation engine: The conceit of the song is domestic abuse — one of those he-hit-me-and-it-felt-like-a-kiss songs, a complicated and disconcerting trope that also comes up in Bessie Smith, Rodgers and Hammerstein, The Crystals and Lana Del Rey. I’d never heard of An Luu,\u003cem> \u003c/em>so\u003cem> \u003c/em>I looked her up online. Oh, okay — she’s an actor; she was in the movie \u003cem>Diva. \u003c/em>I remember that. Otherwise, not much there. A YouTube video with about 10,000 views, and also a \u003ca href=\"http://blog.joshuadsites.com/2017/04/25/todays-lesson-an-luu-pourquoi-tu-me-fous-plus-des-coups/\" target=\"_blank\" rel=\"noopener\">blog post about it\u003c/a> written a few months ago by a media-studies Ph.D in Indiana. “I don’t know how or why Spotify recommended this track to me,” that Ph.D student wrote, “but I sure am grateful they did.” Like me, he was registering the surprise of secondary use. Meaning: He didn’t come to the song because something led him toward the work of An Luu, French-Vietnamese actor and singer, in and of herself. He came to it incidentally, because Spotify used it, within a playlist, as an act of seduction by orphaned data.\u003c/p>\n\u003cp>I’d want to know who An Luu is and what else she did and what led her to record “Pourquoi Tu Me Fous Plus des Coups?” (The song was written, unsurprisingly, by two men — Jacques Duvall and Philipe Chany.) But Spotify won’t tell me any of that, because Spotify tells you very little. Instead, I’m given an encounter that ends with me wondering: \u003cem>What the hell is this? \u003c/em>Nevertheless, now I recognize the song, for what it’s worth.\u003c/p>\n\u003cp>My sense is that such encounters, just like encountering little-known songs in movies and advertisements and new TV shows (such as when the funk-pop slow-dance “\u003ca href=\"https://www.youtube.com/watch?v=ODgezpIjR9k\" target=\"_blank\" rel=\"noopener\">Amarsi Un Po\u003c/a>” by Lucio Battisti, a wise and searching Italian pop singer of the ’70s and ’80s who never had any American audience whatsoever, appeared on \u003cem>Master of None\u003c/em> last spring) are changing, perhaps subtly, what we are looking for from the past. And just as importantly, what we are getting.\u003c/p>\n\u003cp>I’m going to generalize for a minute. The new assumption we carry around is that we know most of what we need to know because of the considerable labor most of us put into using social media and streaming services. If you use them, think of how many ideas, observations, warnings, judgments, alarms, images, videos and sounds you absorb regularly. The neuroscientist Daniel Levitin has, by some wild math, estimated the information intake of a social-media user as similar to reading 175 newspapers per day. I would imagine this all leads us to feel we recognize what is “relevant” simply because we feel the fatigue of so much keeping up. If something escapes our attention, it must be pretty negligible. Relevance, as logic requires, is finite. If it weren’t, then everything would be relevant, and there would be no use for the concept. What really takes us by surprise is when we hear music that has perhaps never been important to our way of thinking but is somehow smuggled into our presence. We experience a feeling of temporary disbelief, or of being privy to an alternate reality. It’s lucky to get our attention.\u003c/p>\n\u003cp>Old music, reframed or brought into new circulation, can be as dynamic and unpredictable as new music. Its work is not done by the end of its own epoch. This was always so, but once, only a small number of people truly knew it; scholars, mostly, who understand that the past evolves by our understanding of its context. People like Mary Beard, the Cambridge professor of ancient Greek and Latin languages and history, who \u003ca href=\"http://www.nybooks.com/articles/2012/01/12/do-classics-have-future/\" target=\"_blank\" rel=\"noopener\">wrote in a 2012 essay\u003c/a> that “the study of the Classics is the study of what happens in the gap between antiquity and ourselves.”\u003c/p>\n\u003cp>College-radio DJs, a guild whose influence is disappearing, knew too. I was one during what I take to be the first great wave of reissued popular music, the mid-’80s. American roots music issued from little record labels in Massachusetts, California, Germany, England; Rounder, Arhoolie, Bear Family, Charly, Ace. (Reissues of funk, disco, electronic and psychedelic music came slightly later.) When Ace, an English label, released B. B. King’s music from the 1950s in an ongoing series of LPs during the mid-’80s, there was a sense that a presidential door had been unbolted. These extravagant outpourings of blues, massive and sophisticated and virtuosic, weren’t really accessible in any other way. There was no YouTube, no Amazon, no Discogs, no Spotify. Even when Ace made it available, this music would not probably reach you unless you moved toward it — and when you did, you committed yourself a little. Here was the past as national library, offering you on the back cover what sober and legitimate context was required, but otherwise letting the work, in considerable quantities, stand for its own powerful self.\u003c/p>\n\u003cp>Around the same time came a different orientation to the past, typified by the Norton label, run by Miriam Linna and Billy Miller. Norton presented American music from the ’50s and ’60s as regional and eccentric and extreme. Hits, in Norton logic, were exceptions; the more common reality was a bunch of tapes made by nobodies like Hasil Adkins, Wade Curtiss and Jack Starr. “The idea was the discovery of stuff that was not available at all,” Linna told me. “We hated to call ourselves a reissue label — we wanted to find people whose music was \u003cem>never\u003c/em> released.” Here was the past as delirious garage-cult fandom, with lots of information attached, and it was just as immersive as the legit kind — again, as long as \u003cem>you went toward it\u003c/em>, rather than \u003cem>waiting for it to come toward you\u003c/em>.\u003c/p>\n\u003cp>When I think about listening to those B.B. King records in 1986, I am thinking of a time when the role of music’s present was usually surprise, counter-argument and probable oblivion. The role of music’s past was confirmation, grounding, study and possible immortality. My sense is that these roles are being reversed. In 2014, Daniel Ek, the CEO of Spotify, said to the \u003cem>New Yorker\u003c/em> journalist John Seabrook: “We’re not in the music space — we’re in the moment space.” This implies that music’s past could become a sequence of brief, discontinuous moments, like quick-fading Snapchat pictures.\u003c/p>\n\u003cp>Ten years ago, I thought the effect of widespread, immediate access to so much of the history of recorded music would be that the past would come to merge with the present. It would simply become another room in the house. I liked that idea, and I imagine Mary Beard would too. But it seems, instead, that the more likely use of the past, and the more profitable one, is as a weird or uncanny diversion. It delivers you a punch in the neck and then retreats back into a flat, non-hierarchical landscape.\u003c/p>\n\u003cfigure id=\"attachment_13815921\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cassette.jpg\" alt=\"Audio cassette.\" width=\"500\" height=\"323\" class=\"size-full wp-image-13815921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cassette-375x242.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Audio cassette. \u003ccite>(Serts/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>My encounter with Homer Banks\u003c/strong> happened during a conversation I was having in an Irish pub with Ken Shipley and Rob Sevier, who run the Numero Group, a Chicago-based label for reissuing old music. They have worked together for 15 years, long enough to become foils: Shipley is sparky and associative, optimistically building theories, and Sevier is saturnine and skeptical, taking them apart.\u003c/p>\n\u003cp>They were in Manhattan on scouting trips. The day before, they’d visited a private collector of instructional belly-dancing records in Brooklyn; they’re working on a project about what they called “appropriated ethnic music.” After meeting me, they were off to visit a New York avant-gardist of great stature with a promising archive of early work. They spend long periods of time working on multiple deep and esoteric projects simultaneously, finding master tapes, securing the rights, then doing the complicated work of re-framing the past. This is their passion.\u003c/p>\n\u003cp>Are they obscurity snobs? Probably. But beyond that, they are betting on a belief that even average listeners know there is more to the history of music than what has been placed before them by radio, algorithms or the happenstance of social media. Their work has originality and integrity as \u003cem>primary-use\u003c/em> culture — you buy, you \u003cem>move towards\u003c/em>, a Numero Group record or box set dedicated to a single artist or label from the past, beautifully designed and well-annotated, and you’re going to learn a lot. But primary use isn’t paying the bills anymore.\u003c/p>\n\u003cp>“Ten years ago, it didn’t take any effort to sell 5 to 10,000 CDs,” Shipley told me. “Now you’re lucky if you can sell 3,000.” Just recently, as they noticed in their last round of royalty statements, Numero has started to sell more LPs than CDs. And though there has been a gradual rise in the sales of LPs, the few small (actual) stores that sell them, as Shipley explained, prioritize LPs that young people are actually going to buy. The Beatles’ \u003cem>Abbey Road\u003c/em>, Metallica’s \u003cem>Kill ‘Em All\u003c/em>, and so on. There may not be room in the bin for obscure soul records after that. The LP revival does not lift all boats.\u003c/p>\n\u003cp>Not long ago, they realized the vastness of their interests was outpacing the market. They’d been great at the game of reframing the past and won Grammys for their work, but were now sitting on dead stock. As a consequence, they are putting out far fewer records now, a fifth as many as they did four years ago. And their priority, increasingly, is to be able to administer the “sync rights” (synchronization rights, for songs to be used in movies or TV or in ads) themselves. They’ve negotiated for songs — mostly American music from the ’60s and ’70s — in many movies: \u003cem>The Circle, The Trust, Loving \u003c/em>— lots and lots. Take my word for it. If you don’t talk about music while pointing at the ceiling in bars, perhaps you are doing it while pointing at the television. Same thing. You are pointing at the means of production. Secondary use.\u003c/p>\n\u003cp>“Our business is changing away from being a record company to being a copyright company, which is kind of ugly,” Shipley said. From primary to secondary. “But: You make these records, they’re really beautiful, and the record audience is actually really minimal. I don’t care who you talk to” — here he named four other pre-eminent “reissue” labels — “Light in the Attic, Ace, Rhino, Now Again. Physical business is not the business any more, it can’t survive on selling CDs and LPs. It’s not a sustainable way of thinking about copyrights. The sustainable way is to figure out: One, how can you get something to stream as many times as possible? Two, how can you put it in a film, television show, or advertisement? Those are the two avenues for historical music that are available to finance it.”\u003c/p>\n\u003cp>They hope that the \u003ca href=\"https://open.spotify.com/user/numerogroup/playlist/52WrPQG9sn9xVS9PK00i2z\" target=\"_blank\" rel=\"noopener\">’60s Girl Group playlist\u003c/a> they made for Spotify, full of obscurities, called “Basement Beehive,” will become more widely listened to than the mainstream-oriented one created by Spotify. (It’s making gains. It could happen.)\u003c/p>\n\u003cp>Actively reframing the past is another way. Shipley and Sevier, who are putting their fingerprints on currents in music of the past that did not have a name or genre: “Kid Soul” (little-known Motown-era bands with pre-adolescent singers), “Black Vietnam” (war-haunted ’70s soul and funk). They’re taking many approaches: national-library, garage-cult, critical reframing \u003cem>and\u003c/em> playlisting. They are sharing minute obsessions for fun, because obsession is fun, and it is communicable. But they are also challenging theories of relevance.\u003c/p>\n\u003cp>“We’re reframing in a way that \u003cem>corrects for hits,” \u003c/em>Sevier told me. “Look at what the history of popular music is at any given point. What’s focused on are the hits. We’re getting into what happened at the time and creating a restructured version that just looks at what happened in the scene, but doesn’t have anything to do with hits. Isn’t interested in it.” The restructured version doesn’t just rule out big, dumb pop music; it might rule out B. B. King, too. But their theory is still legitimate. The American imagination, and American media, can stand to devote more time considering what was \u003cem>not\u003c/em> made successful by the usual commercial forces.\u003c/p>\n\u003cp>When I pointed at the ceiling, Shipley and Sevier both made the same doubtful face. They were listening to the whole sequence of songs, not just the one that got me excited. This, I said to them, must be the real challenge in your work — it’s easy now to have an \u003cem>adequately new\u003c/em> experience with old music. You don’t need to be curious about anything in particular; you just leave it to an algorithm or a new Netflix show and you’ll hear something you don’t know. They looked at me as if I didn’t know the half of it. Or a fifth of it.\u003c/p>\n\u003cp>\u003cstrong>As Shipley suggested\u003c/strong>, I spoke to Matt Sullivan, of Light in the Attic, founded in 2002. “The sync world… to be frank, it’s one of the last bastions of making a living in music,” he said. His label, he explained, had hired one person to work on licensing ten years ago — now it has three. “There are more original TV shows,” he said, “and a lot of supervisors now — this has been building for the last 15 or 20 years — come from a college radio or record-store background. \u003cem>Master of None\u003c/em>, or \u003cem>Fargo\u003c/em>, these shows have phenomenal music. They’re almost the new form of college radio, in terms of a discovery tool.”\u003c/p>\n\u003cp>This seems true. You want to know about new hip-hop and R&B? Watch \u003cem>Insecure. \u003c/em>You want to see music used with subtlety as a mood, or as an extension of the character? Watch the shows Sullivan mentioned, or \u003cem>Transparent, \u003c/em>or \u003cem>Big Little Lies\u003c/em>, whose music supervisor, Susan Jacobs, very recently won the first-ever Emmy for music supervision.\u003c/p>\n\u003cp>Like Numero Group, Light in the Attic has released some of the most interesting records of the last 15 years: its \u003cem>Native North America \u003c/em>compilation of Canadian Native-American folk-rock; the catalogs of Lizzie Mercier Descloux, Betty Davis, Françoise Hardy, and Rodriguez, all of which can reorder and expand the histories of pop you have in your head. It just put out a collection of the work of the 1990s Los Angeles post-rock band Acetone, a band which for me certainly needed reframing, since I ignored them at the time. At the moment, starting with the compilation \u003cem>Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973\u003c/em>, the label is looking toward Japanese pop from the ’70s and ’80s, the next frontier for discophiles — and if Sullivan is lucky, for secondary use.\u003c/p>\n\u003cp>It could be that the current generation of music supervisors for TV and film are establishing a new express lane that connects a certain kind of obscurantist taste (mining for overlooked artists who are either representative or unusual, but not exceptional in the old way, the stun-you-up-front, accomplished-all-around way of B.B. King, or Aretha Franklin, or Prince) and the most powerful secondary-source platforms for music. From there, they all run together; an obscure old song that gains traction in a film or TV show can quickly enter streaming-service playlists.\u003c/p>\n\u003cfigure id=\"attachment_13815922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg\" alt=\"Our relationships to music are dictated by the means of its transmission to us\" width=\"800\" height=\"392\" class=\"size-medium wp-image-13815922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-800x392.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-768x376.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-1180x578.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-960x470.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players-520x255.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Tape-players.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Our relationships to music are dictated by the means of its transmission to us \u003ccite>(Getty/Glasshouse Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I can fancy a man,”\u003c/strong> wrote Oscar Wilde in \u003cem>The Critic as Artist\u003c/em>, “who had led a perfectly commonplace life, hearing by chance some curious piece of music, and suddenly discovering that his soul, without his being conscious of it, had passed through terrible experiences, and known fearful joys, or wild romantic loves, or great renunciations.” Music is particularly good at suggesting a kind of alternative past for the listener, Wilde argued, because it is always implying motion, and because it has a life of its own. It can’t be bound by the intention of the composer.\u003c/p>\n\u003cp>Zach Cowie might disagree. I used to correspond with him 15 years ago when he worked as a publicist for Drag City records, and it was clear that he knew more about music than most of the writers he was helping. He is now one of the music supervisors for \u003cem>Master of None\u003c/em> (he and Kerri Drootin are responsible for that Lucio Battisti moment at the end of that show’s second season). They were also nominated for the music-supervising Emmy this year. He finds himself in an interesting position: His job is encouraging secondary use, but he worries about what secondary use is doing to music.\u003c/p>\n\u003cp>“I don’t think any music goes beyond its intention,” he told me. “And a lot of music that is being passed my way as a supervisor has a commercial intent. A lot of reasons got us to this point, but I can detect it right away. My interest in finding these old things is to find music that was made for the \u003cem>sake of making music,”\u003c/em> he said. “Music-making has changed so much since the era of everything’s-available, to where I hear more direct derivativeness than ever before. I get pitched stuff all day: ‘Imagine Kate Bush fronting Kraftwerk!’ Well, the reason I love Kate Bush and I love Kraftwerk is because they never wanted to be anything other than themselves.”\u003c/p>\n\u003cp>If Cowie is right — and if the commercial intent of more and more new music is, increasingly, for secondary use — what then? Will ahistoricism eventually make all music even out? The English theorist and critic Mark Fisher, who died earlier this year at the age of 48, had a Marxist answer to this question. Capitalism, as he wrote about it in the books \u003cem>Capitalist Realism \u003c/em>and \u003cem>Ghosts of My Life, \u003c/em>unhitches us from a structured idea of history and makes us unable to imagine a future of any kind, including a future of art. He noticed that pastiche was all around us in pop music of the ’80s, coming with quotation marks included. But around the turn of the 21st century, he argued, the quotation marks came off, resulting in bands like the Arctic Monkeys. “They’re clearly a retro group,” he said in \u003ca href=\"http://crackmagazine.net/article/music/mark-fisher-interviewed/\">an interview from 2014\u003c/a>, “but the category of retro doesn’t make any sense anymore because it’s retro compared to what?” It was around 2003, in his estimation, when he felt that listeners on a grand scale got used to the idea that they would never hear anything new again.\u003c/p>\n\u003cp>I’m sympathetic to that idea, but I can’t fully get on board with it. Fisher was generally talking about pop music, which carries the profit motive genetically. But pop music isn’t all music, and it makes sense that what lives by capitalism may die by it. I have spent a lot of time writing and thinking about music in which innovation happens slowly, and in which tendencies that might otherwise be known as “retro” are really strategies for survival, for learning from the elder spirits. In jazz, the elder spirits are often still alive, playing, sometimes giving lessons. Then there’s hip-hop. Hip-hop’s never satisfied for long. It comes with aspirations of change.\u003c/p>\n\u003cp>This isn’t a bad period for music’s past. (No time ever was.) And it has some clear advantages — a mania about stories, stoked by public radio and podcasts and documentaries; the everything’s-available assumption, making what is \u003cem>not \u003c/em>available seem exotically attractive; a sense of sociocultural reparation, leading the charge in bringing some artists back to light; and a furious new intensity of research, which is a byproduct of all the other advantages. (For example, A 12,000-word essay accompanies Numero’s Hüsker Dü box set.) Now may be the time of passive encounters and secondary use, but it is also the time of the Julius Eastman revival. Eastman, the New York composer who died in 1990, was uncannily contemporary —an honorary citizen of \u003cem>now\u003c/em> — in his forthright blackness, gayness, and disinterest in institutional power. The reissue culture of the last few years has directed us to his recorded music and has started to bring his repertory into contemporary music ensembles. None of this happened because of ahistoricism — quite the opposite.\u003c/p>\n\u003cp>But what if the real proof of Eastman’s relevance is if his music becomes used for TV shows and streaming playlists, and thereafter lives only as vague allusions in the music of others who want their tunes to be picked up for later secondary use?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg\" alt=\"\" width=\"500\" height=\"275\" class=\"alignright size-full wp-image-13815924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-160x88.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-240x132.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/beat-up-tape-player-375x206.jpeg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>\u003cstrong>The real lesson of the past\u003c/strong>, now that cultural artifacts have become so easy to share, is the unwieldiness of it. Once there wasn’t enough, now there’s too much to go around. A national-library approach to old music, understanding artists of special stature in and of themselves, may be respectful and responsible and history-minded, but isn’t the only way, and can hardly be trusted. Who has bestowed the special stature? And what’s their stake in it?\u003c/p>\n\u003cp>One of my recent interests is an English label, or some kind of music-organizing entity called \u003ca href=\"https://twitter.com/deathisnot?lang=en\">Death Is Not the End\u003c/a>, run by Luke Owen. He finished university seven years ago, he told me, and has worked for record distributors ever since, surrounded by old music. He has put together a series of brilliant shows for NTS — an English, web-based radio-station — filled with music still lurking below the level of collection, from pre-LP times, from the radio, from microphones someone stuck in the air at a certain time and place. The shows overlap with what he has released on his label, mostly digitally or in small editions on cassette. One of his recent shows, in mid-August, was \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">an edit of various tapes\u003c/a> from from reggae sound-clash and sound-system sets in London during the ’80s and ’90s. They represent hectic places. The backing tracks stop and start, the singers and toasters wail and imprecate and drift in and out, including one called Screamer, who made me think, much like Wilde’s man, \u003cem>I’ve been there. \u003c/em>They’re not unlike field recordings, and as with many field recordings, there’s not a lot of information attached to this music. The assumption, somehow, on behalf of someone, is that you don’t want to know the information, or it’s unknowable, or it’s all better when presented as an uncanny mystery. I’ve looked up Screamer. Next to nothing. Less than An Luu.\u003c/p>\n\u003cp>The recordings come from sites like \u003ca href=\"http://whocorkthedance.com\" target=\"_blank\" rel=\"noopener\">Who Cork The Dance\u003c/a>, among others—online storage-houses of old soundsystem tapes. This isn’t ephemera, it’s the true broth. \u003ca href=\"https://www.nts.live/shows/death-is-not-the-end/episodes/death-is-not-the-end-26-08-17\" target=\"_blank\" rel=\"noopener\">The sound-clash program\u003c/a> was one of the best things I’ve heard in months. I went toward it, learned from it, made primary use of it. But I also got a major hit of the uncanny feeling, the punch-in-the-neck feeling. I wondered what was rendering this music especially attractive to me: the indistinct, slurry-like sound quality? The density of the action, making me conjure the place? The ongoingness and never-endingness of it, such that one thing is pretty much as good as the next? The fact that I don’t know how to find out more about Screamer?\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>\u003cstrong>What’s the worst\u003c/strong> that can happen? Oh, I don’t know — where to begin? That new music won’t suggest a future; that the only viable use of music’s past is as ahistorical amusement to accompany scripted stories or conversations in bars; and every note ever played will level out into a vaguely seductive past-present. Perhaps, at that point, all music will become field recordings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Within+The+Context+Of+All+Contexts%3A+The+Rewiring+Of+Our+Relationship+To+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815912/within-the-context-of-all-contexts-the-rewiring-of-our-relationship-to-music",
"authors": [
"byline_arts_13815912"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_991",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815913",
"label": "arts_137"
},
"arts_13815892": {
"type": "posts",
"id": "arts_13815892",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815892",
"score": null,
"sort": [
1511813433000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511813433,
"format": "standard",
"title": "Steely Dan, Inc. Fights Itself in Lawsuit Over Shares",
"headTitle": "Steely Dan, Inc. Fights Itself in Lawsuit Over Shares | KQED",
"content": "\u003cp>Steely Dan, the artistic partnership of Donald Fagen and Walter Becker (with a revolving cast of songwriters and players), lasted nearly 50 years before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/03/548290182/steely-dans-walter-becker-dies-at-67\" target=\"_blank\" rel=\"noopener\">Becker’s death\u003c/a> in early September. Now, a dispute between Fagen and Becker’s estate, which is now owned by his widow Delia Coffi, has put a bitter spin on the legacy of a warm, winking, coolly funky corner of pop.\u003c/p>\n\u003cp>The suit is over a “buy/sell” contract the members of Steely Dan signed more than 45 years ago, on Halloween, 1972. The contract, included as an addendum to the complaint filed by Fagen’s lawyer, Skip Miller last Tuesday (Nov. 21), says that if any of its signees dies or leaves the band, the band’s corporation has the right to immediately repurchase their shares at book value. The contract also includes mention that any transfer of those shares to another person is still subject to the agreement. Fagen is the only surviving member of the original lineup of five players who signed the contract.\u003c/p>\n\u003cp>Delia Coffi’s lawyers, Fagen claims, sent him a letter asserting “that the buy/sell agreement dated as of October 31, 1972 is of no force or effect.” They also claim that the company managing Steely Dan, Inc.’s finances and business — Nigro, Karlin, Segal, Feldstein & Bolno (NKSFB), which also oversees the estate of Walter Becker — mismanaged Steely Dan’s accounts and did not respond to Fagen’s request for documents on the band’s finances.\u003c/p>\n\u003cp>Fagen wants $1 million in damages and for the court to rule on whether the buy/sell agreement remains in effect.\u003c/p>\n\u003cp>When reached, NKSFB declined to comment on the lawsuit or any potential conflict of interest in representing both sides of the pending case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement released earlier today, the estate of Becker writes again that it believes the 1972 contract “was not in effect” when Becker passed away, continuing: “The misrepresentation that [Becker’s] widow, Ms. Cioffi, initiated any litigious action is simply untrue. In our view, Mr. Fagen is unfairly trying to deprive Walter’s family of the fruits of their joint labors.\u003c/p>\n\u003cp>“Since Walter’s passing, we have endeavored to achieve a compromise with Mr. Fagen,” going on to say that Fagen, through Skip Miller, “did not even attempt to contact us prior to filing a lawsuit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to that response, Skip Miller writes today that “the main point is that the buy/sell agreement at the heart of the suit is as valid as the day it was signed. It’s something Mr. Becker felt strongly about keeping in place and honoring, even during his years of illness. Mr. Fagen believes Mr. Becker’s estate is entitled to receive all normal royalties on the songs they wrote together. But this case is about the future of the band, and we will vigorously defend the contract.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Steely+Dan%2C+Inc.+Fights+Itself+In+Lawsuit+Over+Shares&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 521,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705029036,
"excerpt": "Band co-founder Donald Fagen is suing the estate of Walter Becker, his artistic partner for over 50 years, over a contract signed more than 45 years ago, on Halloween, 1972.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Band co-founder Donald Fagen is suing the estate of Walter Becker, his artistic partner for over 50 years, over a contract signed more than 45 years ago, on Halloween, 1972.",
"title": "Steely Dan, Inc. Fights Itself in Lawsuit Over Shares | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Steely Dan, Inc. Fights Itself in Lawsuit Over Shares",
"datePublished": "2017-11-27T12:10:33-08:00",
"dateModified": "2024-01-11T19:10:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "steely-dan-inc-fights-itself-in-lawsuit-over-shares",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=566735079&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Mon, 27 Nov 2017 14:05:54 -0500",
"nprLastModifiedDate": "Mon, 27 Nov 2017 14:05:54 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2017/11/27/566735079/steely-dan-inc-fights-itself-in-lawsuit-over-shares?ft=nprml&f=566735079",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Laura Farr",
"nprStoryId": "566735079",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 27 Nov 2017 14:05:00 -0500",
"path": "/arts/13815892/steely-dan-inc-fights-itself-in-lawsuit-over-shares",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steely Dan, the artistic partnership of Donald Fagen and Walter Becker (with a revolving cast of songwriters and players), lasted nearly 50 years before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/03/548290182/steely-dans-walter-becker-dies-at-67\" target=\"_blank\" rel=\"noopener\">Becker’s death\u003c/a> in early September. Now, a dispute between Fagen and Becker’s estate, which is now owned by his widow Delia Coffi, has put a bitter spin on the legacy of a warm, winking, coolly funky corner of pop.\u003c/p>\n\u003cp>The suit is over a “buy/sell” contract the members of Steely Dan signed more than 45 years ago, on Halloween, 1972. The contract, included as an addendum to the complaint filed by Fagen’s lawyer, Skip Miller last Tuesday (Nov. 21), says that if any of its signees dies or leaves the band, the band’s corporation has the right to immediately repurchase their shares at book value. The contract also includes mention that any transfer of those shares to another person is still subject to the agreement. Fagen is the only surviving member of the original lineup of five players who signed the contract.\u003c/p>\n\u003cp>Delia Coffi’s lawyers, Fagen claims, sent him a letter asserting “that the buy/sell agreement dated as of October 31, 1972 is of no force or effect.” They also claim that the company managing Steely Dan, Inc.’s finances and business — Nigro, Karlin, Segal, Feldstein & Bolno (NKSFB), which also oversees the estate of Walter Becker — mismanaged Steely Dan’s accounts and did not respond to Fagen’s request for documents on the band’s finances.\u003c/p>\n\u003cp>Fagen wants $1 million in damages and for the court to rule on whether the buy/sell agreement remains in effect.\u003c/p>\n\u003cp>When reached, NKSFB declined to comment on the lawsuit or any potential conflict of interest in representing both sides of the pending case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement released earlier today, the estate of Becker writes again that it believes the 1972 contract “was not in effect” when Becker passed away, continuing: “The misrepresentation that [Becker’s] widow, Ms. Cioffi, initiated any litigious action is simply untrue. In our view, Mr. Fagen is unfairly trying to deprive Walter’s family of the fruits of their joint labors.\u003c/p>\n\u003cp>“Since Walter’s passing, we have endeavored to achieve a compromise with Mr. Fagen,” going on to say that Fagen, through Skip Miller, “did not even attempt to contact us prior to filing a lawsuit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to that response, Skip Miller writes today that “the main point is that the buy/sell agreement at the heart of the suit is as valid as the day it was signed. It’s something Mr. Becker felt strongly about keeping in place and honoring, even during his years of illness. Mr. Fagen believes Mr. Becker’s estate is entitled to receive all normal royalties on the songs they wrote together. But this case is about the future of the band, and we will vigorously defend the contract.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Steely+Dan%2C+Inc.+Fights+Itself+In+Lawsuit+Over+Shares&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815892/steely-dan-inc-fights-itself-in-lawsuit-over-shares",
"authors": [
"byline_arts_13815892"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815893",
"label": "arts_137"
},
"arts_13815832": {
"type": "posts",
"id": "arts_13815832",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815832",
"score": null,
"sort": [
1511637072000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511637072,
"format": "standard",
"title": "What's $800 And Already Sold Out? This Lego Star Wars Ship",
"headTitle": "What’s $800 And Already Sold Out? This Lego Star Wars Ship | KQED",
"content": "\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=hGoQ44SfV-c\u003c/p>\n\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\n\u003cp>https://twitter.com/mrjalco/status/932608894563770369?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fthetwo-way%2F2017%2F11%2F24%2F566370961%2Fwhats-800-and-already-sold-out-this-lego-star-wars-ship\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GeLbhxJxUHU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 340,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705029040,
"excerpt": "Released solely to Lego's \"VIP\" list, the Millennium Falcon sold out quickly after its September release. The company promises more models through December, but only for its most loyal customers.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Released solely to Lego's "VIP" list, the Millennium Falcon sold out quickly after its September release. The company promises more models through December, but only for its most loyal customers.",
"title": "What's $800 And Already Sold Out? This Lego Star Wars Ship | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What's $800 And Already Sold Out? This Lego Star Wars Ship",
"datePublished": "2017-11-25T11:11:12-08:00",
"dateModified": "2024-01-11T19:10:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "whats-800-and-already-sold-out-this-lego-star-wars-ship",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=566370961&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Rebecca Feldhaus Adams",
"nprStoryDate": "Fri, 24 Nov 2017 17:38:00 -0500",
"nprLastModifiedDate": "Fri, 24 Nov 2017 18:10:47 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2017/11/24/566370961/whats-800-and-already-sold-out-this-lego-star-wars-ship?ft=nprml&f=566370961",
"nprImageAgency": "Lego",
"nprImageCredit": "Jim van Gulk",
"nprStoryId": "566370961",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Nov 2017 18:10:00 -0500",
"path": "/arts/13815832/whats-800-and-already-sold-out-this-lego-star-wars-ship",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\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/hGoQ44SfV-c'\n title='//www.youtube.com/embed/hGoQ44SfV-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "932608894563770369"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\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/GeLbhxJxUHU'\n title='//www.youtube.com/embed/GeLbhxJxUHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815832/whats-800-and-already-sold-out-this-lego-star-wars-ship",
"authors": [
"byline_arts_13815832"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596",
"arts_3241"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815833",
"label": "arts_137"
},
"arts_13815807": {
"type": "posts",
"id": "arts_13815807",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815807",
"score": null,
"sort": [
1511532051000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511532051,
"format": "standard",
"title": "In 'Coco,' Pixar Finds Joyous Life — In Death",
"headTitle": "In ‘Coco,’ Pixar Finds Joyous Life — In Death | KQED",
"content": "\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rvr68u6k5sI\u003c/p>\n\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 480,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705029043,
"excerpt": "A young Mexican boy who longs for music finds himself in the afterlife in a movie that will inspire joyous tears — and plenty of long-distance calls to grandmothers.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A young Mexican boy who longs for music finds himself in the afterlife in a movie that will inspire joyous tears — and plenty of long-distance calls to grandmothers.",
"title": "In 'Coco,' Pixar Finds Joyous Life — In Death | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Coco,' Pixar Finds Joyous Life — In Death",
"datePublished": "2017-11-24T06:00:51-08:00",
"dateModified": "2024-01-11T19:10:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-coco-pixar-finds-joyous-life-in-death",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=564869134&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Wed, 22 Nov 2017 06:49:00 -0500",
"nprLastModifiedDate": "Wed, 22 Nov 2017 20:02:08 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2017/11/22/564869134/in-coco-pixar-finds-joyous-life-in-death?ft=nprml&f=564869134",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/11/20171122_atc_in_coco_pixar_finds_joyous_life_in_death.mp3?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134",
"nprImageAgency": "Pixar",
"nprAudioM3u": "http://api.npr.org/m3u/1566098819-404571.m3u?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134",
"nprStoryId": "564869134",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 22 Nov 2017 17:31:00 -0500",
"path": "/arts/13815807/in-coco-pixar-finds-joyous-life-in-death",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/11/20171122_atc_in_coco_pixar_finds_joyous_life_in_death.mp3?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\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/Rvr68u6k5sI'\n title='//www.youtube.com/embed/Rvr68u6k5sI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815807/in-coco-pixar-finds-joyous-life-in-death",
"authors": [
"byline_arts_13815807"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_977",
"arts_1900",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815808",
"label": "arts_137"
},
"arts_13815764": {
"type": "posts",
"id": "arts_13815764",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815764",
"score": null,
"sort": [
1511395643000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511395643,
"format": "standard",
"title": "Jon Hendricks, Genre-Pushing Jazz Vocalist, Dead at 96",
"headTitle": "Jon Hendricks, Genre-Pushing Jazz Vocalist, Dead at 96 | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/17931003/jon-hendricks\" target=\"_blank\" rel=\"noopener\">Jon Hendricks\u003c/a>, the singer and songwriter who \u003cem>Time\u003c/em> Magazine called the “James Joyce of jive,” died today in New York at the age of 96. Hendricks was best known for his work in the pioneering vocal jazz trio Lambert, Hendricks and Ross. His death was confirmed by fellow singer and composer Kurt Elling and Hendricks’ publicist, Don Lucoff.\u003c/p>\n\u003cp>First and foremost, he was a storyteller: funny, dexterous with language and erudite. Jon Hendricks could reference practically anything in his lyrics – from the controversy over Shakespeare’s identity to the Spanish Civil War – and make them swing.\u003c/p>\n\u003cp>Still, he’ll be remembered best for his mini-oral histories of the jazz world — like his lyrics for Count Basie’s 1930’s classic “Jumpin’ at the Woodside.”\u003c/p>\n\u003cp>“The Woodside is a hotel on 125th [St.] and 8th Avenue,” Hendricks \u003ca href=\"http://www.npr.org/2011/09/16/140532273/john-hendricks-the-father-of-vocalese-at-90\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> in 2011. “Everybody stayed there because you didn’t have to go to bed at nine or 10. You could have jam session at 3 a.m. Old vaudevillians and musicians ran the hotel, the man and his wife. And so I told that story.”\u003c/p>\n\u003cp>Like his idol, the poet Paul Lawrence Dunbar, Hendricks penned folk poetry. Only he chose his words to mimic the sounds of instruments, fitting texts not just to melodies, but the most technically demanding jazz solos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Who would think to do a lyric for the John Coltrane, for any John Coltrane solo? That’s highly complex music,” said the late singer Al Jarreau, talking to NPR \u003ca href=\"http://www.npr.org/sections/ablogsupreme/2011/09/16/140533374/voices-al-jarreau-on-jon-hendricks\" target=\"_blank\" rel=\"noopener\">in 2011\u003c/a>. Jarreau sang with Hendricks on his 1990 album \u003cem>Freddie Freeloader\u003c/em>.\u003c/p>\n\u003cp>“Similarly, there’s very highly complex music in the Basie book, very highly complex music in the Miles [Davis] book,” Jarreau continued. “And to have the idea that yes, I can write a lyric for this stuff that makes sense and I’ll even sing the solos, the great classic solos — just wild.”\u003c/p>\n\u003cp>Jon Carl Hendricks was born in Newark, Ohio in 1921, the son of a minister and one of 14 children.\u003c/p>\n\u003cp>“I was always precocious about English language and the King James Bible especially,” Hendricks told NPR, “because my job in my family was to assist my father and look up in the King James whatever he wanted to use as a text for his sermon that Sunday.”\u003c/p>\n\u003cp>As a youngster, Hendricks performed with piano virtuoso Art Tatum. He studied law on the G.I. Bill after World War II, but abandoned jurisprudence for jazz at the suggestion of legend Charlie Parker. He moved to New York City and supported himself ghostwriting lyrics for Tin Pan Alley, until he found a kindred spirit.\u003c/p>\n\u003cp>“Dave Lambert and I were looking for something to do before we died. Before we starved death!” Hendricks recalled. “That’s literally true. Dave said, ‘We both like Basie. Why don’t you write lyrics to four Basie tunes and we’ll take them uptown and sell them as an album?'”\u003c/p>\n\u003cp>They did. \u003cem>Sing a Song of Basie\u003c/em> became a hit in 1957. And, with the addition of singer Annie Ross, the trio Lambert, Hendricks, and Ross was voted the most popular vocal group in the world for the next five years by readers of \u003cem>Melody Maker\u003c/em> Magazine.\u003c/p>\n\u003cp>After they split up in 1962, Hendricks turned up in some unlikely places: as the lyricist for the No. 1 hit \u003ca href=\"https://www.youtube.com/watch?v=jf-cCL3TOCo\">“Yeh Yeh”\u003c/a> by British R&B singer Georgie Fame and singing about race riots with a fledgling rock band called The Warlocks — soon rechristened the Grateful Dead.\u003c/p>\n\u003cp>Hendricks worked as a music critic, taught college and wrote for the theater, singing with family groups that sometimes included young talents—among them singer Bobby McFerrin. In 1985, Hendricks collaborated with The Manhattan Transfer on their album \u003cem>Vocalese\u003c/em>, for which they won seven Grammy Awards.\u003c/p>\n\u003cp>Jon Hendricks was a professor of Jazz at the University of Toledo, where he previously studied law. An NEA Jazz Master, he served on the Kennedy Center Honors committee under three presidents.\u003c/p>\n\u003cp>A reunion with Annie Ross in 2000, during the revival of the swing style, introduced him to a new generation. He continued performing almost to the end of his life. But one thing Hendricks seldom did was sing other writer’s lyrics.\u003c/p>\n\u003cp>“Jon Hendricks always will be the greatest of jazz lyricists,” says Kurt Elling, in a statement on the news. “I can’t imagine him being surprised that his wife Judith thought of him as a mystical offspring of William Shakespeare.”\u003c/p>\n\u003cp>Asked why he wasn’t content to sing the words of other people, Hendricks would point to the discrimination against African-Americans in Tin Pan Alley. That, and one minor flaw he saw in the pop songs of the day: “Well, they weren’t deep enough for me. They didn’t go deep enough.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fortunately, Jon Hendricks did. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jon+Hendricks%2C+Genre-Pushing+Jazz+Vocalist%2C+Dead+At+96&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 870,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705029055,
"excerpt": "The jazz singer and songwriter died Wednesday in Manhattan at the age of 96.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The jazz singer and songwriter died Wednesday in Manhattan at the age of 96.",
"title": "Jon Hendricks, Genre-Pushing Jazz Vocalist, Dead at 96 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jon Hendricks, Genre-Pushing Jazz Vocalist, Dead at 96",
"datePublished": "2017-11-22T16:07:23-08:00",
"dateModified": "2024-01-11T19:10:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jon-hendricks-genre-pushing-jazz-vocalist-dead-at-96",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=529907015&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Lara Pellegrinelli",
"nprStoryDate": "Wed, 22 Nov 2017 17:22:26 -0500",
"nprLastModifiedDate": "Wed, 22 Nov 2017 18:13:20 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2017/11/22/529907015/jon-hendricks-genre-pushing-jazz-vocalist-dead-at-96?ft=nprml&f=529907015",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Keystone",
"nprStoryId": "529907015",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 22 Nov 2017 18:13:00 -0500",
"path": "/arts/13815764/jon-hendricks-genre-pushing-jazz-vocalist-dead-at-96",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/17931003/jon-hendricks\" target=\"_blank\" rel=\"noopener\">Jon Hendricks\u003c/a>, the singer and songwriter who \u003cem>Time\u003c/em> Magazine called the “James Joyce of jive,” died today in New York at the age of 96. Hendricks was best known for his work in the pioneering vocal jazz trio Lambert, Hendricks and Ross. His death was confirmed by fellow singer and composer Kurt Elling and Hendricks’ publicist, Don Lucoff.\u003c/p>\n\u003cp>First and foremost, he was a storyteller: funny, dexterous with language and erudite. Jon Hendricks could reference practically anything in his lyrics – from the controversy over Shakespeare’s identity to the Spanish Civil War – and make them swing.\u003c/p>\n\u003cp>Still, he’ll be remembered best for his mini-oral histories of the jazz world — like his lyrics for Count Basie’s 1930’s classic “Jumpin’ at the Woodside.”\u003c/p>\n\u003cp>“The Woodside is a hotel on 125th [St.] and 8th Avenue,” Hendricks \u003ca href=\"http://www.npr.org/2011/09/16/140532273/john-hendricks-the-father-of-vocalese-at-90\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> in 2011. “Everybody stayed there because you didn’t have to go to bed at nine or 10. You could have jam session at 3 a.m. Old vaudevillians and musicians ran the hotel, the man and his wife. And so I told that story.”\u003c/p>\n\u003cp>Like his idol, the poet Paul Lawrence Dunbar, Hendricks penned folk poetry. Only he chose his words to mimic the sounds of instruments, fitting texts not just to melodies, but the most technically demanding jazz solos.\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>“Who would think to do a lyric for the John Coltrane, for any John Coltrane solo? That’s highly complex music,” said the late singer Al Jarreau, talking to NPR \u003ca href=\"http://www.npr.org/sections/ablogsupreme/2011/09/16/140533374/voices-al-jarreau-on-jon-hendricks\" target=\"_blank\" rel=\"noopener\">in 2011\u003c/a>. Jarreau sang with Hendricks on his 1990 album \u003cem>Freddie Freeloader\u003c/em>.\u003c/p>\n\u003cp>“Similarly, there’s very highly complex music in the Basie book, very highly complex music in the Miles [Davis] book,” Jarreau continued. “And to have the idea that yes, I can write a lyric for this stuff that makes sense and I’ll even sing the solos, the great classic solos — just wild.”\u003c/p>\n\u003cp>Jon Carl Hendricks was born in Newark, Ohio in 1921, the son of a minister and one of 14 children.\u003c/p>\n\u003cp>“I was always precocious about English language and the King James Bible especially,” Hendricks told NPR, “because my job in my family was to assist my father and look up in the King James whatever he wanted to use as a text for his sermon that Sunday.”\u003c/p>\n\u003cp>As a youngster, Hendricks performed with piano virtuoso Art Tatum. He studied law on the G.I. Bill after World War II, but abandoned jurisprudence for jazz at the suggestion of legend Charlie Parker. He moved to New York City and supported himself ghostwriting lyrics for Tin Pan Alley, until he found a kindred spirit.\u003c/p>\n\u003cp>“Dave Lambert and I were looking for something to do before we died. Before we starved death!” Hendricks recalled. “That’s literally true. Dave said, ‘We both like Basie. Why don’t you write lyrics to four Basie tunes and we’ll take them uptown and sell them as an album?'”\u003c/p>\n\u003cp>They did. \u003cem>Sing a Song of Basie\u003c/em> became a hit in 1957. And, with the addition of singer Annie Ross, the trio Lambert, Hendricks, and Ross was voted the most popular vocal group in the world for the next five years by readers of \u003cem>Melody Maker\u003c/em> Magazine.\u003c/p>\n\u003cp>After they split up in 1962, Hendricks turned up in some unlikely places: as the lyricist for the No. 1 hit \u003ca href=\"https://www.youtube.com/watch?v=jf-cCL3TOCo\">“Yeh Yeh”\u003c/a> by British R&B singer Georgie Fame and singing about race riots with a fledgling rock band called The Warlocks — soon rechristened the Grateful Dead.\u003c/p>\n\u003cp>Hendricks worked as a music critic, taught college and wrote for the theater, singing with family groups that sometimes included young talents—among them singer Bobby McFerrin. In 1985, Hendricks collaborated with The Manhattan Transfer on their album \u003cem>Vocalese\u003c/em>, for which they won seven Grammy Awards.\u003c/p>\n\u003cp>Jon Hendricks was a professor of Jazz at the University of Toledo, where he previously studied law. An NEA Jazz Master, he served on the Kennedy Center Honors committee under three presidents.\u003c/p>\n\u003cp>A reunion with Annie Ross in 2000, during the revival of the swing style, introduced him to a new generation. He continued performing almost to the end of his life. But one thing Hendricks seldom did was sing other writer’s lyrics.\u003c/p>\n\u003cp>“Jon Hendricks always will be the greatest of jazz lyricists,” says Kurt Elling, in a statement on the news. “I can’t imagine him being surprised that his wife Judith thought of him as a mystical offspring of William Shakespeare.”\u003c/p>\n\u003cp>Asked why he wasn’t content to sing the words of other people, Hendricks would point to the discrimination against African-Americans in Tin Pan Alley. That, and one minor flaw he saw in the pop songs of the day: “Well, they weren’t deep enough for me. They didn’t go deep enough.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fortunately, Jon Hendricks did. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jon+Hendricks%2C+Genre-Pushing+Jazz+Vocalist%2C+Dead+At+96&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815764/jon-hendricks-genre-pushing-jazz-vocalist-dead-at-96",
"authors": [
"byline_arts_13815764"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1254",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815765",
"label": "arts_137"
},
"arts_13815643": {
"type": "posts",
"id": "arts_13815643",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815643",
"score": null,
"sort": [
1511337643000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511337643,
"format": "standard",
"title": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67",
"headTitle": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67 | KQED",
"content": "\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wJYSu2OVCGM\u003c/p>\n\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NvgzNEPhYQA\u003c/p>\n\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zIy1rOb8EYU\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 799,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705029063,
"excerpt": "Cassidy's role as an adolescent aspiring musician on the TV show \u003cem>The Partridge Family\u003c/em> turned him into a real-life, teen-dream pop idol.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Cassidy's role as an adolescent aspiring musician on the TV show The Partridge Family turned him into a real-life, teen-dream pop idol.",
"title": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67",
"datePublished": "2017-11-22T00:00:43-08:00",
"dateModified": "2024-01-11T19:11:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "david-cassidy-singer-and-1970s-tv-heartthrob-dies-at-67",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=565094594&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Tue, 21 Nov 2017 21:35:00 -0500",
"nprLastModifiedDate": "Tue, 21 Nov 2017 21:57:42 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2017/11/21/565094594/david-cassidy-singer-and-1970s-tv-heartthrob-dies-at-67?ft=nprml&f=565094594",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Ellidge",
"nprStoryId": "565094594",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 21 Nov 2017 21:42:00 -0500",
"path": "/arts/13815643/david-cassidy-singer-and-1970s-tv-heartthrob-dies-at-67",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\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>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\u003c/em>.)\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/wJYSu2OVCGM'\n title='//www.youtube.com/embed/wJYSu2OVCGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\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/NvgzNEPhYQA'\n title='//www.youtube.com/embed/NvgzNEPhYQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \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/zIy1rOb8EYU'\n title='//www.youtube.com/embed/zIy1rOb8EYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 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=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815643/david-cassidy-singer-and-1970s-tv-heartthrob-dies-at-67",
"authors": [
"byline_arts_13815643"
],
"categories": [
"arts_69",
"arts_235",
"arts_75",
"arts_990"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815644",
"label": "arts_137"
},
"arts_13815635": {
"type": "posts",
"id": "arts_13815635",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815635",
"score": null,
"sort": [
1511316089000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511316089,
"format": "standard",
"title": "Hundreds of Victims of Las Vegas Shooting File Lawsuits",
"headTitle": "Hundreds of Victims of Las Vegas Shooting File Lawsuits | KQED",
"content": "\u003cp>Hundreds of victims of the Oct. 1 shooting in Las Vegas filed five lawsuits in Los Angeles Superior Court on Monday.\u003c/p>\n\u003cp>The largest of the suits names 450 plaintiffs. Among those being sued are MGM Resorts International, owner of the Mandalay Bay resort; Live Nation, organizer of the country music festival at which 58 people were killed; and the estate of Stephen Paddock, the shooter.\u003c/p>\n\u003cp>The victims claim negligence by both MGM and Live Nation. They accuse MGM of not having adequate security policies, not properly training staff, not properly surveilling the premises, and failing to respond quickly when security guard Jesus Campos was shot. The suit alleges that Paddock’s VIP status as a high-stakes gambler gave him access to a service elevator at the Mandalay Bay, which he used to stockpile weapons and ammunition in the days before the shooting.\u003c/p>\n\u003cp>In Live Nation’s case, the plaintiffs say the company failed to provide enough exits or properly train employees “in case of a foreseeable event, such as a terrorist attack or other emergency.”\u003c/p>\n\u003cp>The shooter’s estate is being sued for assault, battery and intentional infliction of emotional distress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The attorney heading the lawsuits, Muhammad Aziz, \u003ca href=\"https://www.reuters.com/article/us-lasvegas-shooting-lawsuit/hundreds-of-las-vegas-shooting-victims-file-lawsuits-in-california-court-idUSKBN1DK2OX\">told\u003c/a> Reuters that the cases were filed in California because most of the plaintiffs are from that state and received treatment there. He also noted that Live Nation is based in the state.\u003c/p>\n\u003cp>Last week, a different law firm filed 14 suits in Nevada court. In addition to MGM, Live Nation, and Paddock’s estate, these suits also name the manufacturers of the bump stock devices found in Paddock’s hotel suite. Attorneys for the plaintiffs argue that the shooting could have been stopped, and that the lawsuits are intended to prompt policy changes so it can’t happen again.\u003c/p>\n\u003cp>Similar to the California lawsuits, the suits filed in Nevada argue that MGM assisted Paddock in transporting his arsenal by giving him access to a service elevator not open to the public, and that the Mandalay Bay failed to adequately monitor the hotel premises, discover his weapons, have gunshot detection devices in hotel rooms, or have adequate procedures to handle an active shooter situation. The suit alleges that Live Nation failed to provide adequate exits or properly train staff to handle emergencies.\u003c/p>\n\u003cp>“The evidence we’ve seen thus far clearly indicates that the defendants were culpable in contributing to the 58 victims who lost their lives and the thousands more still suffering from severe injuries that will take years to overcome, if ever,” said attorney Antonio Romanucci in a press release. He is also lead counsel in lawsuits related to the 2016 shooting at Orlando’s Pulse nightclub.\u003c/p>\n\u003cp>Live Nation told NPR that it does not typically comment on ongoing litigation.\u003c/p>\n\u003cp>MGM wrote in a statement to NPR: “The incident that took place on October 1st was a terrible tragedy perpetrated by an evil man. These kinds of lawsuits are not unexpected and we intend to defend ourselves against them. That said, out of respect for the victims, we will give our response through the appropriate legal channels.”\u003c/p>\n\u003cp>It won’t be easy to prove the venues were negligent.\u003c/p>\n\u003cp>“One can’t blame the hotel for not predicting that this gunman would go up to their 32nd floor with an arsenal and break out the windows and start firing at people,” Tom Russell, a personal injury lawyer and law professor at the University of Denver \u003ca href=\"https://www.npr.org/2017/10/13/557520555/lawsuits-begin-after-las-vegas-massacre\">told\u003c/a> NPR’s Kirk Siegler. He said venues can also be victims, in the form of lost business or other harms.\u003c/p>\n\u003cp>As Kirk reported last month, victims sued the theater chain Cinemark after the 2012 Aurora, Colo., movie theater shooting. But the victims lost their suit, and were ordered to pay Cinemark’s legal fees. A legal expert also said that lawsuits against the gun industry tend to be unsuccessful.\u003c/p>\n\u003cp>“Laws like the Protection of Lawful Commerce in Arms Act passed as recently as 2005 broadly exempt the gun industry from any tort lawsuits when criminals use their products,” Kirk reported. “Meanwhile some victims, as in one motion already filed in Las Vegas, go after the gunman’s assets. But even if they win, there’s rarely enough money to go around.”\u003c/p>\n\u003cp>C. Chad Pinkerton, an attorney in the California suits, told the Associated Press that the shooting could have been avoided if officials had implemented safety recommendations and followed the weapons policies they had.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We know in this day and age that evil does happen, and we have to protect against that,” he told the AP. “This was the largest venue security failure in U.S. history.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Hundreds+Of+Victims+Of+Las+Vegas+Shooting+File+Lawsuits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 815,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705029064,
"excerpt": "Defendants in the suits include MGM Resorts International, which owns the Mandalay Bay, and Live Nation, the organizer of the country music festival at which 58 people were killed last month.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Defendants in the suits include MGM Resorts International, which owns the Mandalay Bay, and Live Nation, the organizer of the country music festival at which 58 people were killed last month.",
"title": "Hundreds of Victims of Las Vegas Shooting File Lawsuits | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hundreds of Victims of Las Vegas Shooting File Lawsuits",
"datePublished": "2017-11-21T18:01:29-08:00",
"dateModified": "2024-01-11T19:11:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hundreds-of-victims-of-las-vegas-shooting-file-lawsuits",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=565732881&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laurel Wamsley",
"nprStoryDate": "Tue, 21 Nov 2017 14:58:00 -0500",
"nprLastModifiedDate": "Tue, 21 Nov 2017 15:11:28 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2017/11/21/565732881/hundreds-of-victims-of-las-vegas-shooting-file-lawsuits?ft=nprml&f=565732881",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Robyn Beck",
"nprStoryId": "565732881",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 21 Nov 2017 15:11:00 -0500",
"path": "/arts/13815635/hundreds-of-victims-of-las-vegas-shooting-file-lawsuits",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of victims of the Oct. 1 shooting in Las Vegas filed five lawsuits in Los Angeles Superior Court on Monday.\u003c/p>\n\u003cp>The largest of the suits names 450 plaintiffs. Among those being sued are MGM Resorts International, owner of the Mandalay Bay resort; Live Nation, organizer of the country music festival at which 58 people were killed; and the estate of Stephen Paddock, the shooter.\u003c/p>\n\u003cp>The victims claim negligence by both MGM and Live Nation. They accuse MGM of not having adequate security policies, not properly training staff, not properly surveilling the premises, and failing to respond quickly when security guard Jesus Campos was shot. The suit alleges that Paddock’s VIP status as a high-stakes gambler gave him access to a service elevator at the Mandalay Bay, which he used to stockpile weapons and ammunition in the days before the shooting.\u003c/p>\n\u003cp>In Live Nation’s case, the plaintiffs say the company failed to provide enough exits or properly train employees “in case of a foreseeable event, such as a terrorist attack or other emergency.”\u003c/p>\n\u003cp>The shooter’s estate is being sued for assault, battery and intentional infliction of emotional distress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The attorney heading the lawsuits, Muhammad Aziz, \u003ca href=\"https://www.reuters.com/article/us-lasvegas-shooting-lawsuit/hundreds-of-las-vegas-shooting-victims-file-lawsuits-in-california-court-idUSKBN1DK2OX\">told\u003c/a> Reuters that the cases were filed in California because most of the plaintiffs are from that state and received treatment there. He also noted that Live Nation is based in the state.\u003c/p>\n\u003cp>Last week, a different law firm filed 14 suits in Nevada court. In addition to MGM, Live Nation, and Paddock’s estate, these suits also name the manufacturers of the bump stock devices found in Paddock’s hotel suite. Attorneys for the plaintiffs argue that the shooting could have been stopped, and that the lawsuits are intended to prompt policy changes so it can’t happen again.\u003c/p>\n\u003cp>Similar to the California lawsuits, the suits filed in Nevada argue that MGM assisted Paddock in transporting his arsenal by giving him access to a service elevator not open to the public, and that the Mandalay Bay failed to adequately monitor the hotel premises, discover his weapons, have gunshot detection devices in hotel rooms, or have adequate procedures to handle an active shooter situation. The suit alleges that Live Nation failed to provide adequate exits or properly train staff to handle emergencies.\u003c/p>\n\u003cp>“The evidence we’ve seen thus far clearly indicates that the defendants were culpable in contributing to the 58 victims who lost their lives and the thousands more still suffering from severe injuries that will take years to overcome, if ever,” said attorney Antonio Romanucci in a press release. He is also lead counsel in lawsuits related to the 2016 shooting at Orlando’s Pulse nightclub.\u003c/p>\n\u003cp>Live Nation told NPR that it does not typically comment on ongoing litigation.\u003c/p>\n\u003cp>MGM wrote in a statement to NPR: “The incident that took place on October 1st was a terrible tragedy perpetrated by an evil man. These kinds of lawsuits are not unexpected and we intend to defend ourselves against them. That said, out of respect for the victims, we will give our response through the appropriate legal channels.”\u003c/p>\n\u003cp>It won’t be easy to prove the venues were negligent.\u003c/p>\n\u003cp>“One can’t blame the hotel for not predicting that this gunman would go up to their 32nd floor with an arsenal and break out the windows and start firing at people,” Tom Russell, a personal injury lawyer and law professor at the University of Denver \u003ca href=\"https://www.npr.org/2017/10/13/557520555/lawsuits-begin-after-las-vegas-massacre\">told\u003c/a> NPR’s Kirk Siegler. He said venues can also be victims, in the form of lost business or other harms.\u003c/p>\n\u003cp>As Kirk reported last month, victims sued the theater chain Cinemark after the 2012 Aurora, Colo., movie theater shooting. But the victims lost their suit, and were ordered to pay Cinemark’s legal fees. A legal expert also said that lawsuits against the gun industry tend to be unsuccessful.\u003c/p>\n\u003cp>“Laws like the Protection of Lawful Commerce in Arms Act passed as recently as 2005 broadly exempt the gun industry from any tort lawsuits when criminals use their products,” Kirk reported. “Meanwhile some victims, as in one motion already filed in Las Vegas, go after the gunman’s assets. But even if they win, there’s rarely enough money to go around.”\u003c/p>\n\u003cp>C. Chad Pinkerton, an attorney in the California suits, told the Associated Press that the shooting could have been avoided if officials had implemented safety recommendations and followed the weapons policies they had.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We know in this day and age that evil does happen, and we have to protect against that,” he told the AP. “This was the largest venue security failure in U.S. history.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Hundreds+Of+Victims+Of+Las+Vegas+Shooting+File+Lawsuits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815635/hundreds-of-victims-of-las-vegas-shooting-file-lawsuits",
"authors": [
"byline_arts_13815635"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_3219",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815636",
"label": "arts_137"
},
"arts_13815577": {
"type": "posts",
"id": "arts_13815577",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815577",
"score": null,
"sort": [
1511294409000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511294409,
"format": "standard",
"title": "2,000 Women from Swedish Music Industry Sign #MeToo Letter",
"headTitle": "2,000 Women from Swedish Music Industry Sign #MeToo Letter | KQED",
"content": "\u003cp>“We know who you are.”\u003c/p>\n\u003cp>So concludes a letter, part of the #MeToo campaign addressing and confronting sexual harassment and assault in the workplace and beyond, signed by more than 2,000 women within the Swedish music industry. They work for companies big and small, including major and independent labels, promoters like Live Nation, the streaming service Spotify (which was founded in the country) and high-profile artists like Robyn and The Cardigans’ Nina Persson. The \u003ca href=\"https://www.dn.se/kultur-noje/1993-women-in-the-swedish-music-industry-behind-appeal-against-sexism/\" target=\"_blank\" rel=\"noopener\">letter\u003c/a> and the \u003ca href=\"https://www.dn.se/kultur-noje/de-har-skrivit-under-uppropet-narmusikentystnar/\" target=\"_blank\" rel=\"noopener\">list of signatories\u003c/a> was published over the weekend by the \u003cem>Dagens Nyheter\u003c/em> newspaper.\u003c/p>\n\u003cp>It includes nine stories, submitted anonymously and without naming the perpetrators involved, describing experiences of deeply disrespectful and demeaning treatment and of harrowing sexual violence, including rape. It claims to have gathered hundreds more while collecting signatures. The stories “describe things that happen every day,” it reads.\u003c/p>\n\u003cp>“The people who reproduce the culture of silence,” it continues, “and make sure it is kept in place, are the same men who sit on TV programmes, in t-shirts with feminist aphorisms written on them, or who set quotas for how many female artists should be booked to play at big festivals.\u003c/p>\n\u003cp>“The discrepancy between words and actions is enormous, and the values and policies, which are decided in the industry concerning sexism and equality, are all nice words on blank papers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The letter was the result of a closed Facebook group with around 3,000 women members and initiated by women in the Swedish music business.\u003c/p>\n\u003cp>First Aid Kit, the Swedish duo of sisters Klara and Johanna Söderberg who added their names to the letter, say the letter is directed at global power structures, regardless of industry. ” This problem isn’t unique for Sweden or the music industry,” they write in an email to NPR Music. “This is a global structural problem that needs to change. We hope we can inspire women in all industries to speak out against sexual harassment. We already know of other countries who are working on their own letters.”\u003c/p>\n\u003cp>To that end, the sisters write that a response from the International Federation of the Phonographic Industry, a global recording industry trade body, is “creating a plan of action. They want to support the victims, making it easier to file police reports and get legal advice. Hopefully this will lead to a major change in the industry.”\u003c/p>\n\u003cp>Immediately following the letter’s publication, though seemingly with no direct connection to it, an executive from the Swedish division of major label Warner Music Group was placed on leave following allegations of sexual misconduct by ten women, as \u003ca href=\"https://www.aftonbladet.se/nojesbladet/a/gXbo5/skivbolagschefen-anklagas-for-sexuella-trakasserier\" target=\"_blank\" rel=\"noopener\">reported by \u003cem>Aftonbladet\u003c/em>\u003c/a>. Warner Music Group provided this statement when reached for comment: “We have a code of conduct regarding harassment of any kind and these allegations are being treated very seriously. We have suspended the individual concerned while a thorough independent investigation is conducted. We’ve also held an internal meeting in Stockholm to reiterate to our team the avenues available to make any complaints and how carefully and swiftly we will respond.”\u003c/p>\n\u003cp>While unnamed for now, the executive is the first from a major music company to be placed on leave since the \u003ca href=\"https://www.npr.org/tags/555982871/harvey-weinstein\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein revelations\u003c/a>, which many see as a turning point in how sexual harassment and assault allegations are received and dealt with.\u003c/p>\n\u003cp>The accounts now arrive daily. As this story was being written and edited, Evan Stephen of the band \u003ca href=\"https://www.npr.org/artists/484364070/pinegrove\" target=\"_blank\" rel=\"noopener\">Pinegrove\u003c/a> posted \u003ca href=\"https://www.facebook.com/Pinegroveband/posts/10155748505559774\" target=\"_blank\" rel=\"noopener\">a lengthy missive\u003c/a> to Facebook in which he admits to “sexual coercion,” also announcing his band was canceling its upcoming tour.\u003c/p>\n\u003cp>Just yesterday, veteran television presenter \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">Charlie Rose\u003c/a> was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">fired by CBS\u003c/a> and \u003cem>New York Times\u003c/em> White House correspondent Glenn Thrush was suspended from his job in the wake of accusations of sexual misconduct. One senior news executive for NPR, Mike Oreskes, was \u003ca href=\"https://www.npr.org/2017/11/01/561427869/top-npr-new-executive-mike-oreskes-resigns-amid-allegations-of-sexual-harassment\" target=\"_blank\" rel=\"noopener\">fired\u003c/a> following accusations of inappropriate behavior towards colleagues, while another, chief news editor David Sweeney, was \u003ca href=\"https://www.npr.org/2017/11/16/564629232/chairman-steps-down-as-npr-grapples-with-harassment-crisis\" target=\"_blank\" rel=\"noopener\">placed on leave\u003c/a> pending an investigation.\u003c/p>\n\u003cp>“Victims of sexual harassment and assault have many times been made to feel shameful for what has been done to them,” the Söderbergs write. “We need to put the shame back where it belongs, which is with the perpetrators and the people protecting them. We will no longer be silent. We will listen to and support each other fully. Together, we are strong.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong> 2:06 p.m., Nov. 21 with additional information about the letter’s organization and quotes from First Aid Kit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=2%2C000+Women+From+Swedish+Music+Industry+Sign+%23MeToo+Letter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 782,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705029069,
"excerpt": "The women shared shocking stories of disrespect and physical abuse. Seemingly unrelated, a leading executive from one of the country's largest labels was suspended shortly after.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The women shared shocking stories of disrespect and physical abuse. Seemingly unrelated, a leading executive from one of the country's largest labels was suspended shortly after.",
"title": "2,000 Women from Swedish Music Industry Sign #MeToo Letter | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "2,000 Women from Swedish Music Industry Sign #MeToo Letter",
"datePublished": "2017-11-21T12:00:09-08:00",
"dateModified": "2024-01-11T19:11:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "2000-women-from-swedish-music-industry-sign-metoo-letter",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=565688729&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Tue, 21 Nov 2017 13:37:00 -0500",
"nprLastModifiedDate": "Tue, 21 Nov 2017 14:19:24 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2017/11/21/565688729/enter-title?ft=nprml&f=565688729",
"nprImageAgency": "WireImage",
"nprImageCredit": "Natasha Moustache",
"nprStoryId": "565688729",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 21 Nov 2017 14:19:00 -0500",
"path": "/arts/13815577/2000-women-from-swedish-music-industry-sign-metoo-letter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We know who you are.”\u003c/p>\n\u003cp>So concludes a letter, part of the #MeToo campaign addressing and confronting sexual harassment and assault in the workplace and beyond, signed by more than 2,000 women within the Swedish music industry. They work for companies big and small, including major and independent labels, promoters like Live Nation, the streaming service Spotify (which was founded in the country) and high-profile artists like Robyn and The Cardigans’ Nina Persson. The \u003ca href=\"https://www.dn.se/kultur-noje/1993-women-in-the-swedish-music-industry-behind-appeal-against-sexism/\" target=\"_blank\" rel=\"noopener\">letter\u003c/a> and the \u003ca href=\"https://www.dn.se/kultur-noje/de-har-skrivit-under-uppropet-narmusikentystnar/\" target=\"_blank\" rel=\"noopener\">list of signatories\u003c/a> was published over the weekend by the \u003cem>Dagens Nyheter\u003c/em> newspaper.\u003c/p>\n\u003cp>It includes nine stories, submitted anonymously and without naming the perpetrators involved, describing experiences of deeply disrespectful and demeaning treatment and of harrowing sexual violence, including rape. It claims to have gathered hundreds more while collecting signatures. The stories “describe things that happen every day,” it reads.\u003c/p>\n\u003cp>“The people who reproduce the culture of silence,” it continues, “and make sure it is kept in place, are the same men who sit on TV programmes, in t-shirts with feminist aphorisms written on them, or who set quotas for how many female artists should be booked to play at big festivals.\u003c/p>\n\u003cp>“The discrepancy between words and actions is enormous, and the values and policies, which are decided in the industry concerning sexism and equality, are all nice words on blank papers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter was the result of a closed Facebook group with around 3,000 women members and initiated by women in the Swedish music business.\u003c/p>\n\u003cp>First Aid Kit, the Swedish duo of sisters Klara and Johanna Söderberg who added their names to the letter, say the letter is directed at global power structures, regardless of industry. ” This problem isn’t unique for Sweden or the music industry,” they write in an email to NPR Music. “This is a global structural problem that needs to change. We hope we can inspire women in all industries to speak out against sexual harassment. We already know of other countries who are working on their own letters.”\u003c/p>\n\u003cp>To that end, the sisters write that a response from the International Federation of the Phonographic Industry, a global recording industry trade body, is “creating a plan of action. They want to support the victims, making it easier to file police reports and get legal advice. Hopefully this will lead to a major change in the industry.”\u003c/p>\n\u003cp>Immediately following the letter’s publication, though seemingly with no direct connection to it, an executive from the Swedish division of major label Warner Music Group was placed on leave following allegations of sexual misconduct by ten women, as \u003ca href=\"https://www.aftonbladet.se/nojesbladet/a/gXbo5/skivbolagschefen-anklagas-for-sexuella-trakasserier\" target=\"_blank\" rel=\"noopener\">reported by \u003cem>Aftonbladet\u003c/em>\u003c/a>. Warner Music Group provided this statement when reached for comment: “We have a code of conduct regarding harassment of any kind and these allegations are being treated very seriously. We have suspended the individual concerned while a thorough independent investigation is conducted. We’ve also held an internal meeting in Stockholm to reiterate to our team the avenues available to make any complaints and how carefully and swiftly we will respond.”\u003c/p>\n\u003cp>While unnamed for now, the executive is the first from a major music company to be placed on leave since the \u003ca href=\"https://www.npr.org/tags/555982871/harvey-weinstein\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein revelations\u003c/a>, which many see as a turning point in how sexual harassment and assault allegations are received and dealt with.\u003c/p>\n\u003cp>The accounts now arrive daily. As this story was being written and edited, Evan Stephen of the band \u003ca href=\"https://www.npr.org/artists/484364070/pinegrove\" target=\"_blank\" rel=\"noopener\">Pinegrove\u003c/a> posted \u003ca href=\"https://www.facebook.com/Pinegroveband/posts/10155748505559774\" target=\"_blank\" rel=\"noopener\">a lengthy missive\u003c/a> to Facebook in which he admits to “sexual coercion,” also announcing his band was canceling its upcoming tour.\u003c/p>\n\u003cp>Just yesterday, veteran television presenter \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">Charlie Rose\u003c/a> was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">fired by CBS\u003c/a> and \u003cem>New York Times\u003c/em> White House correspondent Glenn Thrush was suspended from his job in the wake of accusations of sexual misconduct. One senior news executive for NPR, Mike Oreskes, was \u003ca href=\"https://www.npr.org/2017/11/01/561427869/top-npr-new-executive-mike-oreskes-resigns-amid-allegations-of-sexual-harassment\" target=\"_blank\" rel=\"noopener\">fired\u003c/a> following accusations of inappropriate behavior towards colleagues, while another, chief news editor David Sweeney, was \u003ca href=\"https://www.npr.org/2017/11/16/564629232/chairman-steps-down-as-npr-grapples-with-harassment-crisis\" target=\"_blank\" rel=\"noopener\">placed on leave\u003c/a> pending an investigation.\u003c/p>\n\u003cp>“Victims of sexual harassment and assault have many times been made to feel shameful for what has been done to them,” the Söderbergs write. “We need to put the shame back where it belongs, which is with the perpetrators and the people protecting them. We will no longer be silent. We will listen to and support each other fully. Together, we are strong.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong> 2:06 p.m., Nov. 21 with additional information about the letter’s organization and quotes from First Aid Kit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=2%2C000+Women+From+Swedish+Music+Industry+Sign+%23MeToo+Letter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815577/2000-women-from-swedish-music-industry-sign-metoo-letter",
"authors": [
"byline_arts_13815577"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596",
"arts_6012"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815578",
"label": "arts_137"
},
"arts_13815568": {
"type": "posts",
"id": "arts_13815568",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815568",
"score": null,
"sort": [
1511281828000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511281828,
"format": "standard",
"title": "Della Reese, 'Touched By An Angel' Star and Singer, Dies at 86",
"headTitle": "Della Reese, ‘Touched By An Angel’ Star and Singer, Dies at 86 | KQED",
"content": "\u003cp>Della Reese, a performer and pastor best known for her starring role on the CBS spiritual drama \u003cem>Touched by an Angel\u003c/em>, has died at 86.\u003c/p>\n\u003cp>“Her signature television role came late in life,” NPR’s Eric Deggans reported. “Reese already had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.”\u003c/p>\n\u003cp>Her husband Franklin Lett \u003ca href=\"https://www.instagram.com/p/BbufhPnDUDz/\">released a statement\u003c/a> through her \u003cem>Touched by an Angel\u003c/em> costar Roma Downey, saying that Reese “has passed away peacefully at her California home surrounded by love.”\u003c/p>\n\u003cp>Downey added, “I know heaven has a brand new angel this day.”\u003c/p>\n\u003cp>Reese, who was born Delloreese Patricia Early in Detroit, started singing in church when she was six. She \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1525893\">told NPR in 2003\u003c/a> that she was recruited by gospel legend Mahalia Jackson to tour with her at the age of 12.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My mother took Mahalia aside and looked into her eyes and said, `I’ve got a good child here. I wouldn’t let her go off with everybody, but I trust you. I know you’re a woman of God and I’m expecting you to bring me back a better child than I’m sending away with you,'” Reese told the \u003cem>Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>From there, her songs climbed pop charts, such as “Don’t You Know,” which is adapted from an aria from the opera \u003cem>La Boheme\u003c/em>. As Eric reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Her dignified image led to mainstream stardom. She was on \u003cem>The Ed Sullivan Show\u003c/em> 18 times in one year. She also became the first black woman to host her own syndicated variety series and the first black woman to guest host Johnny Carson’s \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>“It was on the set of that show in 1979 that she suffered a brain aneurysm; a near-death experience that inspired her to become an ordained minister.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Her own show, \u003cem>Della\u003c/em>, was on air for one season in 1969-70 with nearly 200 episodes, \u003ca href=\"https://www.nytimes.com/2017/11/20/obituaries/della-reese-singer-and-touched-by-an-angel-star-dies-at-86.html\">The New York Times reported\u003c/a>, with guests including “George Burns, Ike and Tina Turner, Little Richard, Steve Allen, Tony Bennett, Ethel Waters and Gypsy Rose Lee.”\u003c/p>\n\u003cp>In \u003cem>Touched by an Angel\u003c/em>, Reese plays Tess, a sarcastic angel boss who is a maternal figure to Downey’s apprentice guardian angel. “No one played the down to earth, worldly mother figure like Della Reese,” Eric adds.\u003c/p>\n\u003cp>The show was a hit, and ran for nine years “telling stories of God’s impact in everyday life,” Eric says. “People need something to help them with their lives. In the show, we didn’t tell you what to do, we said, ‘did you ever think about it like this?'” Reese said, as Eric reports.\u003c/p>\n\u003cp>Reese also sang the show’s theme song, “Walk with You.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an ordained minister, Reese founded a church called the Understanding Principles for Better Living Church out of her living room. \u003ca href=\"http://upchurch.org/about-our-founder-rev-della-reese-lett/\">The church’s website recounts that\u003c/a> from an original eight members, the church soon outgrew her living room. As the \u003cem>Times\u003c/em> reported, “she delivered Sunday services there for many years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Della+Reese%2C+%27Touched+By+An+Angel%27+Star+And+Singer%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 561,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705029071,
"excerpt": "When she was cast as an angel boss on the long-running CBS spiritual drama, Reese had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When she was cast as an angel boss on the long-running CBS spiritual drama, Reese had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.",
"title": "Della Reese, 'Touched By An Angel' Star and Singer, Dies at 86 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Della Reese, 'Touched By An Angel' Star and Singer, Dies at 86",
"datePublished": "2017-11-21T08:30:28-08:00",
"dateModified": "2024-01-11T19:11:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "della-reese-touched-by-an-angel-star-and-singer-dies-at-86",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=565469257&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 20 Nov 2017 18:16:00 -0500",
"nprLastModifiedDate": "Tue, 21 Nov 2017 05:59:34 -0500",
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2017/11/20/565469257/della-reese-touched-by-an-angel-star-and-singer-dies-at-86?ft=nprml&f=565469257",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2017/11/20171121_me_della_reese_touched_by_an_angel_star_and_singer_dies_at_86.mp3?orgId=1&topicId=1062&d=227&p=3&story=565469257&ft=nprml&f=565469257",
"nprImageAgency": "AP",
"nprAudioM3u": "http://api.npr.org/m3u/1565599433-82e729.m3u?orgId=1&topicId=1062&d=227&p=3&story=565469257&ft=nprml&f=565469257",
"nprStoryId": "565469257",
"nprByline": "Merrit Kennedy",
"sticky": false,
"nprImageCredit": "Douglas C. Pizac",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 21 Nov 2017 07:44:00 -0500",
"path": "/arts/13815568/della-reese-touched-by-an-angel-star-and-singer-dies-at-86",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2017/11/20171121_me_della_reese_touched_by_an_angel_star_and_singer_dies_at_86.mp3?orgId=1&topicId=1062&d=227&p=3&story=565469257&ft=nprml&f=565469257",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Della Reese, a performer and pastor best known for her starring role on the CBS spiritual drama \u003cem>Touched by an Angel\u003c/em>, has died at 86.\u003c/p>\n\u003cp>“Her signature television role came late in life,” NPR’s Eric Deggans reported. “Reese already had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.”\u003c/p>\n\u003cp>Her husband Franklin Lett \u003ca href=\"https://www.instagram.com/p/BbufhPnDUDz/\">released a statement\u003c/a> through her \u003cem>Touched by an Angel\u003c/em> costar Roma Downey, saying that Reese “has passed away peacefully at her California home surrounded by love.”\u003c/p>\n\u003cp>Downey added, “I know heaven has a brand new angel this day.”\u003c/p>\n\u003cp>Reese, who was born Delloreese Patricia Early in Detroit, started singing in church when she was six. She \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1525893\">told NPR in 2003\u003c/a> that she was recruited by gospel legend Mahalia Jackson to tour with her at the age of 12.\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>“My mother took Mahalia aside and looked into her eyes and said, `I’ve got a good child here. I wouldn’t let her go off with everybody, but I trust you. I know you’re a woman of God and I’m expecting you to bring me back a better child than I’m sending away with you,'” Reese told the \u003cem>Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>From there, her songs climbed pop charts, such as “Don’t You Know,” which is adapted from an aria from the opera \u003cem>La Boheme\u003c/em>. As Eric reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Her dignified image led to mainstream stardom. She was on \u003cem>The Ed Sullivan Show\u003c/em> 18 times in one year. She also became the first black woman to host her own syndicated variety series and the first black woman to guest host Johnny Carson’s \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>“It was on the set of that show in 1979 that she suffered a brain aneurysm; a near-death experience that inspired her to become an ordained minister.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Her own show, \u003cem>Della\u003c/em>, was on air for one season in 1969-70 with nearly 200 episodes, \u003ca href=\"https://www.nytimes.com/2017/11/20/obituaries/della-reese-singer-and-touched-by-an-angel-star-dies-at-86.html\">The New York Times reported\u003c/a>, with guests including “George Burns, Ike and Tina Turner, Little Richard, Steve Allen, Tony Bennett, Ethel Waters and Gypsy Rose Lee.”\u003c/p>\n\u003cp>In \u003cem>Touched by an Angel\u003c/em>, Reese plays Tess, a sarcastic angel boss who is a maternal figure to Downey’s apprentice guardian angel. “No one played the down to earth, worldly mother figure like Della Reese,” Eric adds.\u003c/p>\n\u003cp>The show was a hit, and ran for nine years “telling stories of God’s impact in everyday life,” Eric says. “People need something to help them with their lives. In the show, we didn’t tell you what to do, we said, ‘did you ever think about it like this?'” Reese said, as Eric reports.\u003c/p>\n\u003cp>Reese also sang the show’s theme song, “Walk with You.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an ordained minister, Reese founded a church called the Understanding Principles for Better Living Church out of her living room. \u003ca href=\"http://upchurch.org/about-our-founder-rev-della-reese-lett/\">The church’s website recounts that\u003c/a> from an original eight members, the church soon outgrew her living room. As the \u003cem>Times\u003c/em> reported, “she delivered Sunday services there for many years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Della+Reese%2C+%27Touched+By+An+Angel%27+Star+And+Singer%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815568/della-reese-touched-by-an-angel-star-and-singer-dies-at-86",
"authors": [
"byline_arts_13815568"
],
"categories": [
"arts_235",
"arts_990"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815571",
"label": "arts_137"
},
"arts_13815488": {
"type": "posts",
"id": "arts_13815488",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815488",
"score": null,
"sort": [
1511203253000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511203253,
"format": "standard",
"title": "Tambor May Leave 'Transparent' Amid Harassment Allegations",
"headTitle": "Tambor May Leave ‘Transparent’ Amid Harassment Allegations | KQED",
"content": "\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor has announced he may be leaving the hit Amazon series after two women accused him of sexual harassment.\u003c/p>\n\u003cp>Tambor continues to deny the allegations leveled this month by one of his co-stars on the show and by his former assistant. But the actor intimated his departure from the show, in a statement provided to NPR, due to a recent “politicized atmosphere” on the set.\u003c/p>\n\u003cblockquote>\n\u003cp>“Playing Maura Pfefferman on ‘Transparent’ has been one of the greatest privileges and creative experiences of my life,” Tambor said. “What has become clear over the past weeks, however, is that this is no longer the job I signed up for four years ago. I’ve already made clear my deep regret if any action of mine was ever misinterpreted by anyone as being aggressive, but the idea that I would deliberately harass anyone is simply and utterly untrue. Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://deadline.com/2017/11/jeffrey-tambor-sexual-harassment-claims-amazon-1202204220/\" target=\"_blank\" rel=\"noopener\">According to Deadline\u003c/a>, which first broke the news on Sunday, the first allegation against Tambor was made by his former assistant and transgender actress Van Barnes. In a private Facebook post earlier this month, Barnes claimed her former boss, without naming Tambor, had sexually harassed and groped her, prompting Amazon Studios officials to open an investigation into the matter.\u003c/p>\n\u003cp>Just more than a week later, his transgender co-star Trace Lysette \u003ca href=\"https://twitter.com/tracelysette/status/931366076209799168\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> that Tambor “made many sexual advances and comments at me, but one time it got physical.” She proceeds to describe an instance in which he pressed up against the actress and “began quick, discreet thrusts back and forth” against her, in between filming.\u003c/p>\n\u003cp>In response to the allegations, Tambor admitted he “can be volatile and ill-tempered … But I have never been a predator – ever.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When news dropped of the network’s investigation, \u003ca href=\"http://deadline.com/2017/11/house-of-cards-transparent-wisdom-of-the-crowd-harassment-scandals-future-limbo-1202205041/\" target=\"_blank\" rel=\"noopener\">Deadline reports\u003c/a> that \u003cem>Transparent \u003c/em>writers considered writing Tambor’s central character Maura out of the upcoming fifth season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Tambor has yet to officially quit the show. A source close to the show says no final decision about next season has been made by Tambor or Amazon. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jeffrey+Tambor+May+Be+Leaving+%27Transparent%27+Amid+Sexual+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 398,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705029076,
"excerpt": "\"I don't see how I can return,\" said the star of the hit show. As Amazon investigates the two allegations, both of which he denies, no official decision has been made by either Tambor or the network.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""I don't see how I can return," said the star of the hit show. As Amazon investigates the two allegations, both of which he denies, no official decision has been made by either Tambor or the network.",
"title": "Tambor May Leave 'Transparent' Amid Harassment Allegations | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tambor May Leave 'Transparent' Amid Harassment Allegations",
"datePublished": "2017-11-20T10:40:53-08:00",
"dateModified": "2024-01-11T19:11:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tambor-may-leave-transparent-amid-harassment-allegations",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=565254200&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Emma Bowman",
"nprStoryDate": "Mon, 20 Nov 2017 00:00:00 -0500",
"nprLastModifiedDate": "Mon, 20 Nov 2017 10:34:25 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2017/11/20/565254200/jeffrey-tambor-may-be-leaving-transparent-amid-sexual-harassment-allegations?ft=nprml&f=565254200",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Alberto E. Rodriguez",
"nprStoryId": "565254200",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 20 Nov 2017 10:34:00 -0500",
"path": "/arts/13815488/tambor-may-leave-transparent-amid-harassment-allegations",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor has announced he may be leaving the hit Amazon series after two women accused him of sexual harassment.\u003c/p>\n\u003cp>Tambor continues to deny the allegations leveled this month by one of his co-stars on the show and by his former assistant. But the actor intimated his departure from the show, in a statement provided to NPR, due to a recent “politicized atmosphere” on the set.\u003c/p>\n\u003cblockquote>\n\u003cp>“Playing Maura Pfefferman on ‘Transparent’ has been one of the greatest privileges and creative experiences of my life,” Tambor said. “What has become clear over the past weeks, however, is that this is no longer the job I signed up for four years ago. I’ve already made clear my deep regret if any action of mine was ever misinterpreted by anyone as being aggressive, but the idea that I would deliberately harass anyone is simply and utterly untrue. Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://deadline.com/2017/11/jeffrey-tambor-sexual-harassment-claims-amazon-1202204220/\" target=\"_blank\" rel=\"noopener\">According to Deadline\u003c/a>, which first broke the news on Sunday, the first allegation against Tambor was made by his former assistant and transgender actress Van Barnes. In a private Facebook post earlier this month, Barnes claimed her former boss, without naming Tambor, had sexually harassed and groped her, prompting Amazon Studios officials to open an investigation into the matter.\u003c/p>\n\u003cp>Just more than a week later, his transgender co-star Trace Lysette \u003ca href=\"https://twitter.com/tracelysette/status/931366076209799168\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> that Tambor “made many sexual advances and comments at me, but one time it got physical.” She proceeds to describe an instance in which he pressed up against the actress and “began quick, discreet thrusts back and forth” against her, in between filming.\u003c/p>\n\u003cp>In response to the allegations, Tambor admitted he “can be volatile and ill-tempered … But I have never been a predator – ever.”\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 news dropped of the network’s investigation, \u003ca href=\"http://deadline.com/2017/11/house-of-cards-transparent-wisdom-of-the-crowd-harassment-scandals-future-limbo-1202205041/\" target=\"_blank\" rel=\"noopener\">Deadline reports\u003c/a> that \u003cem>Transparent \u003c/em>writers considered writing Tambor’s central character Maura out of the upcoming fifth season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Tambor has yet to officially quit the show. A source close to the show says no final decision about next season has been made by Tambor or Amazon. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jeffrey+Tambor+May+Be+Leaving+%27Transparent%27+Amid+Sexual+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815488/tambor-may-leave-transparent-amid-harassment-allegations",
"authors": [
"byline_arts_13815488"
],
"categories": [
"arts_235",
"arts_990"
],
"tags": [
"arts_1448",
"arts_596",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815489",
"label": "arts_137"
},
"arts_13815403": {
"type": "posts",
"id": "arts_13815403",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815403",
"score": null,
"sort": [
1511023196000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1511023196,
"format": "standard",
"title": "Sarah Silverman Asks: 'Can You Love Someone Who Did Bad Things?'",
"headTitle": "Sarah Silverman Asks: ‘Can You Love Someone Who Did Bad Things?’ | KQED",
"content": "\u003cp>Comedian Sarah Silverman confronted one aspect of the wave of sexual abuse and misconduct revelations that have come out in recent weeks: the anguish when the perpetrator is a friend.\u003c/p>\n\u003cp>“I wish I could sit this one out,” she says in a monologue for her Hulu show \u003cem>I Love You, America\u003c/em>. “But then I remembered something I said on this very show: that if it’s mentionable, it’s manageable. So I’m going to address the elephant masturbating in the room.”\u003c/p>\n\u003cp>She means, of course, the comedian Louis C.K., one of Silverman’s best friends for more than 25 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_WKFDqxiL80\u003c/p>\n\u003cp>“This recent calling out of sexual assault has been a long time coming,” she says in the episode that aired Thursday night. “It’s good. It’s like cutting out tumors — it’s messy and it’s complicated and it is gonna hurt, but it’s necessary and we’ll all be healthier for it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It sucks, and some of our heroes will be taken down and we will discover bad things about people we like, or in some cases, people we love.”\u003c/p>\n\u003cp>Multiple female comics have accused C.K. of sexual misconduct, including masturbating in front of them. Last week, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\">C.K. admitted\u003c/a> that “the stories are true” after previously declining to comment on the rumors about him. One of the women \u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\">told\u003c/a> \u003cem>The New York Times\u003c/em> that for years afterward, she felt angry and betrayed and that the interaction was a factor in her deciding not pursue comedy.\u003c/p>\n\u003cp>“He wielded his power with women in messed-up ways,” Silverman continues. “I could couch this with heartwarming stories of our friendship and what a great dad he is, but that’s totally irrelevant, isn’t it? Yes, it is.”\u003c/p>\n\u003cp>After the \u003cem>Times \u003c/em>story broke, HBO cut ties with C.K., the distributor of his upcoming film canceled its release, and FX canceled its deal with his production company.\u003c/p>\n\u003cp>“I love Louie. But Louie did these things,” Silverman says. “Both of those statements are true. So, I just keep asking myself, can you love someone who did bad things? Can you still love them? I can mull that over later, certainly, because the only people that matter right now are the victims. They are victims, and they’re victims because of something he did.”\u003c/p>\n\u003cp>Silverman says she is at once very angry — “for the women he wronged and the culture that enabled it” — and also sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe with all my heart that this moment in time is essential,” she says. “It’s vital that people are held accountable for their actions, no matter who they are. We need to be better. We will better. I can’t [expletive] wait to be better.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Sarah+Silverman+Asks%3A+%27Can+You+Love+Someone+Who+Did+Bad+Things%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 519,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705029084,
"excerpt": "In an emotional monologue, Silverman addressed \"the elephant masturbating in the room\" and plumbed the anger and sadness she feels about her friend Louis C.K.'s actions.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In an emotional monologue, Silverman addressed "the elephant masturbating in the room" and plumbed the anger and sadness she feels about her friend Louis C.K.'s actions.",
"title": "Sarah Silverman Asks: 'Can You Love Someone Who Did Bad Things?' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sarah Silverman Asks: 'Can You Love Someone Who Did Bad Things?'",
"datePublished": "2017-11-18T08:39:56-08:00",
"dateModified": "2024-01-11T19:11:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sarah-silverman-asks-can-you-love-someone-who-did-bad-things",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=564784724&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laurel Wamsley",
"nprStoryDate": "Fri, 17 Nov 2017 10:46:00 -0500",
"nprLastModifiedDate": "Fri, 17 Nov 2017 17:05:19 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2017/11/17/564784724/sarah-silverman-asks-can-you-love-someone-who-did-bad-things?ft=nprml&f=564784724",
"nprImageAgency": "I Love You America on YouTube",
"nprImageCredit": "Screengrab by NPR",
"nprStoryId": "564784724",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 17 Nov 2017 17:03:00 -0500",
"path": "/arts/13815403/sarah-silverman-asks-can-you-love-someone-who-did-bad-things",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Sarah Silverman confronted one aspect of the wave of sexual abuse and misconduct revelations that have come out in recent weeks: the anguish when the perpetrator is a friend.\u003c/p>\n\u003cp>“I wish I could sit this one out,” she says in a monologue for her Hulu show \u003cem>I Love You, America\u003c/em>. “But then I remembered something I said on this very show: that if it’s mentionable, it’s manageable. So I’m going to address the elephant masturbating in the room.”\u003c/p>\n\u003cp>She means, of course, the comedian Louis C.K., one of Silverman’s best friends for more than 25 years.\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/_WKFDqxiL80'\n title='//www.youtube.com/embed/_WKFDqxiL80'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This recent calling out of sexual assault has been a long time coming,” she says in the episode that aired Thursday night. “It’s good. It’s like cutting out tumors — it’s messy and it’s complicated and it is gonna hurt, but it’s necessary and we’ll all be healthier for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It sucks, and some of our heroes will be taken down and we will discover bad things about people we like, or in some cases, people we love.”\u003c/p>\n\u003cp>Multiple female comics have accused C.K. of sexual misconduct, including masturbating in front of them. Last week, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\">C.K. admitted\u003c/a> that “the stories are true” after previously declining to comment on the rumors about him. One of the women \u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\">told\u003c/a> \u003cem>The New York Times\u003c/em> that for years afterward, she felt angry and betrayed and that the interaction was a factor in her deciding not pursue comedy.\u003c/p>\n\u003cp>“He wielded his power with women in messed-up ways,” Silverman continues. “I could couch this with heartwarming stories of our friendship and what a great dad he is, but that’s totally irrelevant, isn’t it? Yes, it is.”\u003c/p>\n\u003cp>After the \u003cem>Times \u003c/em>story broke, HBO cut ties with C.K., the distributor of his upcoming film canceled its release, and FX canceled its deal with his production company.\u003c/p>\n\u003cp>“I love Louie. But Louie did these things,” Silverman says. “Both of those statements are true. So, I just keep asking myself, can you love someone who did bad things? Can you still love them? I can mull that over later, certainly, because the only people that matter right now are the victims. They are victims, and they’re victims because of something he did.”\u003c/p>\n\u003cp>Silverman says she is at once very angry — “for the women he wronged and the culture that enabled it” — and also sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe with all my heart that this moment in time is essential,” she says. “It’s vital that people are held accountable for their actions, no matter who they are. We need to be better. We will better. I can’t [expletive] wait to be better.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Sarah+Silverman+Asks%3A+%27Can+You+Love+Someone+Who+Did+Bad+Things%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815403/sarah-silverman-asks-can-you-love-someone-who-did-bad-things",
"authors": [
"byline_arts_13815403"
],
"categories": [
"arts_235",
"arts_990"
],
"tags": [
"arts_549",
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815404",
"label": "arts_137"
},
"arts_13815160": {
"type": "posts",
"id": "arts_13815160",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13815160",
"score": null,
"sort": [
1510927224000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1510927224,
"format": "standard",
"title": "Mourning Becomes Electrifying In 'Three Billboards Outside Ebbing, Missouri'",
"headTitle": "Mourning Becomes Electrifying In ‘Three Billboards Outside Ebbing, Missouri’ | KQED",
"content": "\u003cp>It was the Year of Our Lord Nineteen Hundred and Ninety-Seven when Frances McDormand collected her Academy Award for playing Marge Gunderson, the lovable pregnant cop heroine of \u003cem>Fargo.\u003c/em> At that same time, Martin McDonagh was fast establishing himself as the \u003cem>savant terrible\u003c/em> of the Irish and English stage, a brash and brilliant playwright who was more Noel Gallagher than Noel Coward — and more like a long-lost Coen Brother than either. Four of McDonagh caustic tragicomedies, all set in rural Ireland, premiered in 1996-7. At the age of 27, he became the first dramatist since Shakespeare to have four shows running simultaneously in London. When McDonagh started dabbling in film a few years later, his debut short \u003cem>Six Shooter \u003c/em>won an Oscar right out of the gate.\u003c/p>\n\u003cp>Only once McDonagh started telling stories set in America — the 2010 play \u003cem>A Behanding in Spokane,\u003c/em> the 2012 film\u003cem> Seven Psychopaths \u003c/em>— did his rocket-like ascent seem to level off. But with the new \u003cem>Three Billboards Outside Ebbing, Missouri,\u003c/em> his third and best feature, he’s finally begun to grapple with the violence of American life in a way that doesn’t feel like the work of a tourist. More than that, \u003cem>Three Billboards\u003c/em> reflects a greater sympathy for its broken characters than does \u003cem>Fargo\u003c/em> or a number of other well-loved Coen Brothers crime capers. That sympathy is what keeps McDonagh’s film consistently surprising — and what may keep some viewers from embracing it. The greatest trick a showman can pull in 2017 is to try to make you pity a violent, racist cop.\u003c/p>\n\u003cp>https://youtu.be/nefD7UOhLCo\u003c/p>\n\u003cp>The \u003cem>Billboards\u003c/em>‘ cast, a murderer’s row of great character actors who’ve played murderers, reunites several whom McDonagh has used before: Woody Harrelson, Abbie Cornish, Peter Dinklage. McDonagh has a particular yen for casting Sam Rockwell — whom I saw in the Broadway production of \u003cem>A Behanding in Spokane\u003c/em>, opposite Christopher Walken, Anthony Mackie, and Zoe Kazan — as loquacious idiots. In \u003cem>Billboards\u003c/em>, Rockwell plays a bigoted patrolman who has managed to hold onto his badge only through the mercy (and frankly, negligence) of Harrelson’s relatively even-tempered police chief. Of the many imperfect-to-straight-up-evil lawmen Harrelson has embodied in recent years, Chief Willoughby is the most compelling.\u003c/p>\n\u003cp>But this is McDormand’s movie all the way, and a fascinating bookend to \u003cem>Fargo\u003c/em>. In that film she was a dogged but reasonable investigator on the trail of two killers; her \u003cem>Billboards\u003c/em> character, Mildred, is herself the grieving victim of a horrific crime, the rape and murder of her adolescent daughter. (The assault is discussed in detail but never depicted onscreen.) Frustrated by the lack of progress in the case and enraged by reports of racially motivated police brutality (also discussed but never shown, though no one seriously disputes that these crimes-by-police occurred), Mildred publicly shames the department into redoubling its efforts. Those red billboards on a little-used country road make it plain to all passersby that something awful happened here, and justice has not been served. (The fictional town of Ebbing, Missouri is played in the film by the Smoky Mountain hideaway of Sylva, North Carolina, pop. 2,644.) Everyone feels sorry for Mildred — as a parish priest played by the great Nick Searcy conveys to her — but their empathy finds its operational limit when her demands for justice begin to reflect badly on the town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the movie. Mildred v. her neighbors, Mildred v. the cops, Mildred v. the menacing strangers who come out of the woodwork when one criticizes law enforcement, Mildred v. her abusive ex-husband (John Hawkes, another great character actor), Mildred v. her high-school-age son (20-year-old Lucas Hedges from \u003cem>Manchester by the Sea\u003c/em>, ditto), who just wants to work through the grieving process and try to salvage his life. Though it runs just under two hours and abandons the single-location milieu of most of McDonagh’s work for the stage, \u003cem>Three Billboards\u003c/em> still moves more like a play than a film, given its five or maybe even seven-act structure. It’s the first of McDonagh’s movies to match the maturity of his plays, and the first time he’s pushed past writing about hitmen and screenwriters to make something that feels like it could be about your neighbors. The most surprising development is that he’s at last exploring how to survive and escape the cycle of vengeance rather than simply working up to one. It’s not easy to write a glib movie about forgiveness. But if I were forced to summarize this one in a billboard, that’s how it would read.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 808,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705029090,
"excerpt": "In this, Irish filmmaker Martin McDonagh's third and best feature, the director has finally begun to grapple with the violence of American life in a way that doesn't feel like the work of a tourist.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In this, Irish filmmaker Martin McDonagh's third and best feature, the director has finally begun to grapple with the violence of American life in a way that doesn't feel like the work of a tourist.",
"title": "Mourning Becomes Electrifying In 'Three Billboards Outside Ebbing, Missouri' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mourning Becomes Electrifying In 'Three Billboards Outside Ebbing, Missouri'",
"datePublished": "2017-11-17T06:00:24-08:00",
"dateModified": "2024-01-11T19:11:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=561910163&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 09 Nov 2017 17:00:49 -0500",
"nprLastModifiedDate": "Thu, 09 Nov 2017 17:00:50 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2017/11/09/561910163/mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri?ft=nprml&f=561910163",
"nprImageAgency": "Fox Searchlight Pictures",
"nprStoryId": "561910163",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 09 Nov 2017 17:00:00 -0500",
"path": "/arts/13815160/mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the Year of Our Lord Nineteen Hundred and Ninety-Seven when Frances McDormand collected her Academy Award for playing Marge Gunderson, the lovable pregnant cop heroine of \u003cem>Fargo.\u003c/em> At that same time, Martin McDonagh was fast establishing himself as the \u003cem>savant terrible\u003c/em> of the Irish and English stage, a brash and brilliant playwright who was more Noel Gallagher than Noel Coward — and more like a long-lost Coen Brother than either. Four of McDonagh caustic tragicomedies, all set in rural Ireland, premiered in 1996-7. At the age of 27, he became the first dramatist since Shakespeare to have four shows running simultaneously in London. When McDonagh started dabbling in film a few years later, his debut short \u003cem>Six Shooter \u003c/em>won an Oscar right out of the gate.\u003c/p>\n\u003cp>Only once McDonagh started telling stories set in America — the 2010 play \u003cem>A Behanding in Spokane,\u003c/em> the 2012 film\u003cem> Seven Psychopaths \u003c/em>— did his rocket-like ascent seem to level off. But with the new \u003cem>Three Billboards Outside Ebbing, Missouri,\u003c/em> his third and best feature, he’s finally begun to grapple with the violence of American life in a way that doesn’t feel like the work of a tourist. More than that, \u003cem>Three Billboards\u003c/em> reflects a greater sympathy for its broken characters than does \u003cem>Fargo\u003c/em> or a number of other well-loved Coen Brothers crime capers. That sympathy is what keeps McDonagh’s film consistently surprising — and what may keep some viewers from embracing it. The greatest trick a showman can pull in 2017 is to try to make you pity a violent, racist cop.\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/nefD7UOhLCo'\n title='//www.youtube.com/embed/nefD7UOhLCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>Billboards\u003c/em>‘ cast, a murderer’s row of great character actors who’ve played murderers, reunites several whom McDonagh has used before: Woody Harrelson, Abbie Cornish, Peter Dinklage. McDonagh has a particular yen for casting Sam Rockwell — whom I saw in the Broadway production of \u003cem>A Behanding in Spokane\u003c/em>, opposite Christopher Walken, Anthony Mackie, and Zoe Kazan — as loquacious idiots. In \u003cem>Billboards\u003c/em>, Rockwell plays a bigoted patrolman who has managed to hold onto his badge only through the mercy (and frankly, negligence) of Harrelson’s relatively even-tempered police chief. Of the many imperfect-to-straight-up-evil lawmen Harrelson has embodied in recent years, Chief Willoughby is the most compelling.\u003c/p>\n\u003cp>But this is McDormand’s movie all the way, and a fascinating bookend to \u003cem>Fargo\u003c/em>. In that film she was a dogged but reasonable investigator on the trail of two killers; her \u003cem>Billboards\u003c/em> character, Mildred, is herself the grieving victim of a horrific crime, the rape and murder of her adolescent daughter. (The assault is discussed in detail but never depicted onscreen.) Frustrated by the lack of progress in the case and enraged by reports of racially motivated police brutality (also discussed but never shown, though no one seriously disputes that these crimes-by-police occurred), Mildred publicly shames the department into redoubling its efforts. Those red billboards on a little-used country road make it plain to all passersby that something awful happened here, and justice has not been served. (The fictional town of Ebbing, Missouri is played in the film by the Smoky Mountain hideaway of Sylva, North Carolina, pop. 2,644.) Everyone feels sorry for Mildred — as a parish priest played by the great Nick Searcy conveys to her — but their empathy finds its operational limit when her demands for justice begin to reflect badly on the town.\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>That’s the movie. Mildred v. her neighbors, Mildred v. the cops, Mildred v. the menacing strangers who come out of the woodwork when one criticizes law enforcement, Mildred v. her abusive ex-husband (John Hawkes, another great character actor), Mildred v. her high-school-age son (20-year-old Lucas Hedges from \u003cem>Manchester by the Sea\u003c/em>, ditto), who just wants to work through the grieving process and try to salvage his life. Though it runs just under two hours and abandons the single-location milieu of most of McDonagh’s work for the stage, \u003cem>Three Billboards\u003c/em> still moves more like a play than a film, given its five or maybe even seven-act structure. It’s the first of McDonagh’s movies to match the maturity of his plays, and the first time he’s pushed past writing about hitmen and screenwriters to make something that feels like it could be about your neighbors. The most surprising development is that he’s at last exploring how to survive and escape the cycle of vengeance rather than simply working up to one. It’s not easy to write a glib movie about forgiveness. But if I were forced to summarize this one in a billboard, that’s how it would read.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13815160/mourning-becomes-electrifying-in-three-billboards-outside-ebbing-missouri",
"authors": [
"byline_arts_13815160"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_12322"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13815161",
"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": 1788,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13815912",
"arts_13815892",
"arts_13815832",
"arts_13815807",
"arts_13815764",
"arts_13815643",
"arts_13815635",
"arts_13815577",
"arts_13815568",
"arts_13815488",
"arts_13815403",
"arts_13815160"
],
"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_991": {
"type": "terms",
"id": "arts_991",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "991",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Essay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Essay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1009,
"slug": "essay",
"isLoading": false,
"link": "/arts/tag/essay"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_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_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_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_3241": {
"type": "terms",
"id": "arts_3241",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3241",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3253,
"slug": "star-wars",
"isLoading": false,
"link": "/arts/tag/star-wars"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_1900": {
"type": "terms",
"id": "arts_1900",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1900",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pixar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pixar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1912,
"slug": "pixar",
"isLoading": false,
"link": "/arts/tag/pixar"
},
"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_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"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_3219": {
"type": "terms",
"id": "arts_3219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3219",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Live Nation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Live Nation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3231,
"slug": "live-nation",
"isLoading": false,
"link": "/arts/tag/live-nation"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_12322": {
"type": "terms",
"id": "arts_12322",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12322",
"found": true
},
"relationships": {},
"featImg": null,
"name": "films",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12334,
"slug": "films",
"isLoading": false,
"link": "/arts/tag/films"
}
},
"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
}
}
