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_13755415": {
"type": "attachments",
"id": "arts_13755415",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13755415",
"found": true
},
"parent": 13755414,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-520x292.png",
"width": 520,
"mimeType": "image/png",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-960x540.png",
"width": 960,
"mimeType": "image/png",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-375x211.png",
"width": 375,
"mimeType": "image/png",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5.png",
"width": 1779,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-1020x573.png",
"width": 1020,
"mimeType": "image/png",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-1180x663.png",
"width": 1180,
"mimeType": "image/png",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-1180x663.png",
"width": 1180,
"mimeType": "image/png",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/ab-gallery1-58ed4541a11d7-1_wide-875b3905807d90a7a6c3e4aafa6114e0c2e573b5-240x135.png",
"width": 240,
"mimeType": "image/png",
"height": 135
}
},
"publishDate": 1501197363,
"modified": 1501198395,
"caption": "Agent Lorraine Broughton (Charlize Theron) sees red in 'Atomic Blonde.'",
"description": "Agent Lorraine Broughton (Charlize Theron) sees red in 'Atomic Blonde.'",
"title": "Agent Lorraine Broughton (Charlize Theron) sees red in Atomic Blonde.",
"credit": "Courtesy of Universal Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13741634": {
"type": "attachments",
"id": "arts_13741634",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13741634",
"found": true
},
"parent": 13741633,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-520x390.jpe",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-160x120.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-960x720.jpe",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-375x281.jpe",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064.jpe",
"width": 1362,
"height": 1022
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-1020x765.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-1180x885.jpe",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-50x50.jpe",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-96x96.jpe",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-800x600.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-64x64.jpe",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-32x32.jpe",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-1180x885.jpe",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-150x150.jpe",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-768x576.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-128x128.jpe",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/tony-awards-2016-title-ba90c249321f88d6ea38d725f93ebb1f17a96064-240x180.jpe",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1501029214,
"modified": 1501029214,
"caption": null,
"description": "\u003cem>Hamilton\u003c/em>-inspired cupcake toppers. It was only a matter of time before fans of the Broadway hit sought out culinary tributes to their most treasured folk hero.",
"title": "Hamilton-inspired cupcake toppers. It was only a matter of time before fans of the Broadway hit sought out culinary tributes to their most treasured folk hero.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13740501": {
"type": "attachments",
"id": "arts_13740501",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13740501",
"found": true
},
"parent": 13740500,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f.jpg",
"width": 981,
"height": 552
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-681419556_wide-7f47663936073a925d4e2c5953d34305bd84ed8f-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1501019895,
"modified": 1501020764,
"caption": "Global Bieber fever: a shot of Indian media gathered before the pop megastar concert in Mumbai, India this May.",
"description": "Global Bieber fever: a shot of Indian media gathered before the pop megastar concert in Mumbai, India this May.",
"title": "Global Bieber fever: a shot of Indian media gathered before the pop megastar concert in Mumbai, India this May.",
"credit": "Photo: Punit Paranjpe/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13740282": {
"type": "attachments",
"id": "arts_13740282",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13740282",
"found": true
},
"parent": 13740275,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Pride-and-PRejudice-ball-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1501014728,
"modified": 1501014801,
"caption": "Regency costumed guests arrive for the the Pride and Prejudice Ball at Chatsworth House on June 22, 2013 in Chatsworth, England. To celebrate the 200th anniversary of the publication of Jane Austen's Pride and Prejudice Chatsworth stately home staged a regency costume evening. Chatsworth House is believed to be the inspiration for Pemberley, the residence of Mr. Darcy. Austen based her idea of Pemberley on Chatsworth House as she wrote the novel in nearby Bakewell in 1812. ",
"description": "Regency costumed guests arrive for the the Pride and Prejudice Ball at Chatsworth House on June 22, 2013 in Chatsworth, England. To celebrate the 200th anniversary of the publication of Jane Austen's Pride and Prejudice Chatsworth stately home staged a regency costume evening. Chatsworth House is believed to be the inspiration for Pemberley, the residence of Mr. Darcy. Austen based her idea of Pemberley on Chatsworth House as she wrote the novel in nearby Bakewell in 1812. ",
"title": "Pride and Prejudice Ball To Celebrate The 200th Anniversary Of The Book",
"credit": "Photo: Christopher Furlong/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13711789": {
"type": "attachments",
"id": "arts_13711789",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13711789",
"found": true
},
"parent": 13711788,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9.jpg",
"width": 5608,
"height": 3154
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-148209732_wide-26f21c44d0c42b72ab7fe8435ccc85c5804929f9-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1500679162,
"modified": 1500679581,
"caption": "Salvador Dali in 1971",
"description": "Salvador Dali in 1971.",
"title": "Salvador Dali in 1971.",
"credit": "AFP/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13703775": {
"type": "attachments",
"id": "arts_13703775",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13703775",
"found": true
},
"parent": 13703773,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9.jpg",
"width": 2477,
"height": 1393
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Harold_And_Lillian_wide-8bd87ff655e00894a7f44f02fa06154ab410f8c9-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1500588074,
"modified": 1500588519,
"caption": "'Howard and Lillian: A True Hollywood Love Story' chronicles the marriage of Lillian and Howard Michelson, who triumphed over challenges that have doomed many Hollywood couples.",
"description": "'Howard and Lillian: A True Hollywood Love Story' chronicles the marriage of Lillian and Howard Michelson, who triumphed over challenges that have doomed many Hollywood couples.",
"title": "Howard and Lillian: A True Hollywood Love Story chronicles the marriage of Lillian and Howard Michelson, who triumphed over challenges that have doomed many Hollywood couples.",
"credit": "Zeitgeist Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13703131": {
"type": "attachments",
"id": "arts_13703131",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13703131",
"found": true
},
"parent": 13703128,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-520x273.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 273
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-160x84.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 84
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-960x504.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 504
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-375x197.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 197
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778.jpg",
"width": 3000,
"height": 1575
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-1020x536.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 536
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-1180x620.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 620
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-800x420.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 420
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-1920x1008.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1008
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-1180x620.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 620
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-1920x1008.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1008
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-768x403.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 403
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Chester-Bennington-e1500580930778-240x126.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 126
}
},
"publishDate": 1500580877,
"modified": 1500580982,
"caption": "Chester Bennington of Linkin Park performs on stage at the iHeartRadio Album Release Party on May 22, 2017 in Burbank, California. ",
"description": "Chester Bennington of Linkin Park performs on stage at the iHeartRadio Album Release Party on May 22, 2017 in Burbank, California. ",
"title": "Linkin Park iHeartRadio Album Release Party Presented by State Farm at the iHeartRadio Theater LA",
"credit": "Photo: Rich Fury/Getty Images for iHeartMedia",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13697496": {
"type": "attachments",
"id": "arts_13697496",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13697496",
"found": true
},
"parent": 13697495,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3.jpg",
"width": 2238,
"height": 1258
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/100803_d1995b_wide-88bed7c1d2a273cdbf5693392371ca78758c52e3-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1500507982,
"modified": 1500507982,
"caption": null,
"description": "Actors Daniel Dae Kim (far left) and Grace Park (second from right) appeared alongside Alex O'Loughlin (far right) and Scott Caan in CBS's \u003cem>Hawaii Five-0.\u003c/em>",
"title": "Actors Daniel Dae Kim (far left) and Grace Park (second from right) appeared alongside Alex O'Loughlin (far right) and Scott Caan in CBS's Hawaii Five-0.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13696248": {
"type": "attachments",
"id": "arts_13696248",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13696248",
"found": true
},
"parent": 13696247,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392.jpg",
"width": 3987,
"height": 2242
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-668682926-3037adb0d5c979995a79540e16a9514c64c06e51-e1500497535392-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1500496270,
"modified": 1500497509,
"caption": "Internet personality Jake Paul is not being a thoughtful neighbor, according to residents who say his rental house has been the scene of fires and loud antics.",
"description": "Internet personality Jake Paul is not being a thoughtful neighbor, according to residents who say his rental house has been the scene of fires and loud antics.",
"title": "Internet personality Jake Paul is not being a thoughtful neighbor, according to residents who say his rental house has been the scene of fires and loud antics.",
"credit": "Photo: Rich Fury/Getty Images for H&M",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13689228": {
"type": "attachments",
"id": "arts_13689228",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13689228",
"found": true
},
"parent": 13689227,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-520x299.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 299
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-160x92.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 92
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-960x552.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 552
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-375x216.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 216
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416323806.jpg",
"width": 1920,
"height": 1104
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-1020x586.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 586
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-1180x678.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 678
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-800x460.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 460
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-1920x1104.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1104
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-1180x678.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 678
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-1920x1104.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1104
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-768x441.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 441
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/gettyimages-525644556_custom-ec310a6f2735bd673eaf81c088b186dc96c89313-e1500416288906-240x138.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 138
}
},
"publishDate": 1500411927,
"modified": 1500416255,
"caption": "Museums only have so much wall space, which means the vast majority of their collections are sitting in storage. The San Francisco Museum of Modern Art has a creative solution to the problem -- the museum is texting its artwork to anyone who asks",
"description": "Museums only have so much wall space, which means the vast majority of their collections are sitting in storage. The San Francisco Museum of Modern Art has a creative solution to the problem -- the museum is texting its artwork to anyone who asks",
"title": "Museums only have so much wall space, which means the vast majority of their collections are sitting in storage. The San Francisco Museum of Modern Art has a creative solution to the problem — the museum is texting its artwork to anyone who asks.",
"credit": "Photo: Josh Edelson/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13683598": {
"type": "attachments",
"id": "arts_13683598",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13683598",
"found": true
},
"parent": 13683597,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-1000x576.jpg",
"width": 1000,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6.jpg",
"width": 1000,
"height": 750
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/handel-3356c1bbe0ddf9b48a481ed21ad14d72e1a09df6-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1500339734,
"modified": 1500360530,
"caption": "A portrait of George Frideric Handel, presenting his 'Water Music' to King George I.",
"description": "A portrait of George Frideric Handel, presenting his 'Water Music' to King George I.",
"title": "A portrait of George Frideric Handel, presenting his Water Music to King George I.",
"credit": "Image: Getty/Bettmann Archive",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13685280": {
"type": "attachments",
"id": "arts_13685280",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13685280",
"found": true
},
"parent": 13683593,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/GettyImages-76521417-e1500359996775-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1500359925,
"modified": 1500359974,
"caption": "President and CEO of 'Ebony' Linda Johnson Rice speaks at a breakfast for Harriette Cole and Ebony Magazine hosted by The Metropolitan Museum of Art on September 5, 2007 in New York City. ",
"description": "President and CEO of 'Ebony' Linda Johnson Rice speaks at a breakfast for Harriette Cole and Ebony Magazine hosted by The Metropolitan Museum of Art on September 5, 2007 in New York City. ",
"title": "The Metropolitan Museum of Art hosts a breakfast for Harriette Cole",
"credit": "Photo: Amy Sussman/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13755414": {
"type": "authors",
"id": "byline_arts_13755414",
"meta": {
"override": true
},
"slug": "byline_arts_13755414",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_13741633": {
"type": "authors",
"id": "byline_arts_13741633",
"meta": {
"override": true
},
"slug": "byline_arts_13741633",
"name": "Kristen Hartke",
"isLoading": false
},
"byline_arts_13740500": {
"type": "authors",
"id": "byline_arts_13740500",
"meta": {
"override": true
},
"slug": "byline_arts_13740500",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13740275": {
"type": "authors",
"id": "byline_arts_13740275",
"meta": {
"override": true
},
"slug": "byline_arts_13740275",
"name": "Geoff Nunberg",
"isLoading": false
},
"byline_arts_13711788": {
"type": "authors",
"id": "byline_arts_13711788",
"meta": {
"override": true
},
"slug": "byline_arts_13711788",
"name": "Colin Dwyer",
"isLoading": false
},
"byline_arts_13703773": {
"type": "authors",
"id": "byline_arts_13703773",
"meta": {
"override": true
},
"slug": "byline_arts_13703773",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_13703128": {
"type": "authors",
"id": "byline_arts_13703128",
"meta": {
"override": true
},
"slug": "byline_arts_13703128",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13697495": {
"type": "authors",
"id": "byline_arts_13697495",
"meta": {
"override": true
},
"slug": "byline_arts_13697495",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13696247": {
"type": "authors",
"id": "byline_arts_13696247",
"meta": {
"override": true
},
"slug": "byline_arts_13696247",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_13689227": {
"type": "authors",
"id": "byline_arts_13689227",
"meta": {
"override": true
},
"slug": "byline_arts_13689227",
"name": "David Greene",
"isLoading": false
},
"byline_arts_13683597": {
"type": "authors",
"id": "byline_arts_13683597",
"meta": {
"override": true
},
"slug": "byline_arts_13683597",
"name": "Tom Huizenga",
"isLoading": false
},
"byline_arts_13683593": {
"type": "authors",
"id": "byline_arts_13683593",
"meta": {
"override": true
},
"slug": "byline_arts_13683593",
"name": "Karen Grigsby Bates",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262192
},
"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": 158
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 158
}
},
{
"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_13755414": {
"type": "posts",
"id": "arts_13755414",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13755414",
"score": null,
"sort": [
1501246838000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1501246838,
"format": "standard",
"title": "'Atomic Blonde' Is A Blast",
"headTitle": "‘Atomic Blonde’ Is A Blast | KQED",
"content": "\u003cp>Set in the days leading up to the fall of the Berlin Wall, \u003cem>Atomic Blonde\u003c/em> takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect — and perhaps that respect only — it belongs to the tradition of post-war thrillers like Carol Reed’s \u003cem>The Third Man\u003c/em> or Andrzej Wajda’s \u003cem>Ashes and Diamonds\u003c/em>, where danger and intrigue exist where they shouldn’t and the players involved are enmeshed in self-doubt and crippling mission drift. For the spies of \u003cem>Atomic Blonde\u003c/em>, the purpose of chasing a MacGuffin called “The List” has been vastly diminished by world events, but they keep on fighting regardless. That’s who they are. \u003c/p>\n\u003cp>The degree to which \u003cem>Atomic Blonde\u003c/em> takes any of this business seriously is an open question, given how little time is spent on political and existential chin-stroking and how much is devoted to fetishizing the era-specific fashion, interior design, and New Wave music. Yet it does explain why the film’s hollowness is a feature rather than a flaw, reflecting the mindset of kick-ass pulp heroine who submerges herself in an ice bath every night, as much to numb her conscience as to salve her wounds. She doesn’t know who to trust. She doesn’t know what she’s fighting for anymore. But nevertheless, she persists. \u003c/p>\n\u003cp>https://youtu.be/yIUube1pSC0\u003c/p>\n\u003cp>Based on Antony Johnson and Sam Hart’s graphic novel \u003cem>The Coldest City\u003c/em>, \u003cem>Atomic Blonde\u003c/em> opens with Lorraine Broughton (Charlize Theron), a MI6 spy, debriefing her superiors about a sensitive mission gone awry. From there, it backtracks to Lorraine getting sent to Berlin, where a British spy has just been killed over a list that includes the names of every espionage agent working in the city, regardless of allegiance. With the identities and lives of her colleagues on the line, Lorraine partners up with Berlin station chief David Percival (James McAvoy), but his erratic behavior immediately draws her suspicion. As Lorraine and David track down “The List” and protect the source (Eddie Marsan) who gave it to them, they face threats from Russian adversaries, black marketers, and a double-agent referred to as “Sachel.” \u003c/p>\n\u003cp>Director David Leitch spent nearly two decades as a stuntman and stunt coordinator before he and his partner, Chad Stahelski, put their choreographic skills to use on the terrific Keanu Reeves action thriller \u003cem>John Wick\u003c/em>. (Only Stahelski is credited, but the two co-directed.) \u003cem>John Wick\u003c/em> and its sequel made a kind of macabre ballet out of Reeves’ retired assassin shooting dozens of henchmen in the head for two hours. American films had been trying to mimic Hong Kong action cinema since John Woo and Chow Yun-Fat revolutionized the action genre with \u003cem>The Killer\u003c/em> and \u003cem>Hard-Boiled\u003c/em>, but Leitch and Stahelski were the first to fully capture the savage beauty of its aestheticized violence. It may be style over substance — but wow what style! \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the Cold War trappings, \u003cem>Atomic Blonde\u003c/em> continues along the same lines, with the spy-versus-spy intrigue serving mainly as a delivery system for magnificent butt-kickings. Leitch clears his throat with a sequence where Lorraine fends off two assailants inside a moving car, using the business end of a red high-heeled shoe as her weapon of choice. From there, he offers a striking range of different looks, including a bravura single-shot scene of close combat near an stairwell, an apartment melee where Lorraine relies on available materials (chiefly a garden hose), and a behind-the-screen silhouette fight at an East German theater showing Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>. \u003c/p>\n\u003cp>Though Lorraine’s fight for survival in this changing and confusing time isn’t as clear and effective a motivation as Reeves avenging his dog’s death in \u003cem>John Wick\u003c/em>, the premise does give Leitch the opportunity to explore the graphic possibilities of the setting and uncork a soundtrack that includes moody delectables like David Bowie’s “Cat People (Putting Out Fire),” ‘Til Tuesday’s “Voices Carry” and Depeche Mode’s “Behind the Wheel.” \u003cem>Atomic Blonde\u003c/em> is foremost an entry in the cinema of cool, with each fussed-over frame drenched in the noir trappings of chiaroscuro lighting and cigarette smoke or luxuriating in late-’80s German iconography or the contours of beautiful bodies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Atomic Blonde\u003c/em> may be high in empty calories, but craftsmanship of this level is rare and exhilarating, and worth surviving some muddled plotting to appreciate. Theron has a background as a dancer — she trained in ballet until a knee injury altered her career — and the choreography not only serves the deadly elegance of her form, but makes the camera her invisible partner. Their \u003cem>pas de deux\u003c/em> is a knockout.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 829,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705029920,
"excerpt": "\"It may be style over substance,\" says critic Scott Tobias of this spy thriller starring a butt-kicking Charlize Theron, \"but wow what style!\" ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""It may be style over substance," says critic Scott Tobias of this spy thriller starring a butt-kicking Charlize Theron, "but wow what style!" ",
"title": "'Atomic Blonde' Is A Blast | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Atomic Blonde' Is A Blast",
"datePublished": "2017-07-28T06:00:38-07:00",
"dateModified": "2024-01-11T19:25:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "atomic-blonde-is-a-blast",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=539213483&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 27 Jul 2017 17:00:24 -0400",
"nprLastModifiedDate": "Thu, 27 Jul 2017 17:00:24 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/07/27/539213483/-atomic-blonde-is-a-blast?ft=nprml&f=539213483",
"nprImageAgency": "Universal Pictures",
"nprStoryId": "539213483",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 27 Jul 2017 17:00:00 -0400",
"path": "/arts/13755414/atomic-blonde-is-a-blast",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Set in the days leading up to the fall of the Berlin Wall, \u003cem>Atomic Blonde\u003c/em> takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect — and perhaps that respect only — it belongs to the tradition of post-war thrillers like Carol Reed’s \u003cem>The Third Man\u003c/em> or Andrzej Wajda’s \u003cem>Ashes and Diamonds\u003c/em>, where danger and intrigue exist where they shouldn’t and the players involved are enmeshed in self-doubt and crippling mission drift. For the spies of \u003cem>Atomic Blonde\u003c/em>, the purpose of chasing a MacGuffin called “The List” has been vastly diminished by world events, but they keep on fighting regardless. That’s who they are. \u003c/p>\n\u003cp>The degree to which \u003cem>Atomic Blonde\u003c/em> takes any of this business seriously is an open question, given how little time is spent on political and existential chin-stroking and how much is devoted to fetishizing the era-specific fashion, interior design, and New Wave music. Yet it does explain why the film’s hollowness is a feature rather than a flaw, reflecting the mindset of kick-ass pulp heroine who submerges herself in an ice bath every night, as much to numb her conscience as to salve her wounds. She doesn’t know who to trust. She doesn’t know what she’s fighting for anymore. But nevertheless, she persists. \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/yIUube1pSC0'\n title='//www.youtube.com/embed/yIUube1pSC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Antony Johnson and Sam Hart’s graphic novel \u003cem>The Coldest City\u003c/em>, \u003cem>Atomic Blonde\u003c/em> opens with Lorraine Broughton (Charlize Theron), a MI6 spy, debriefing her superiors about a sensitive mission gone awry. From there, it backtracks to Lorraine getting sent to Berlin, where a British spy has just been killed over a list that includes the names of every espionage agent working in the city, regardless of allegiance. With the identities and lives of her colleagues on the line, Lorraine partners up with Berlin station chief David Percival (James McAvoy), but his erratic behavior immediately draws her suspicion. As Lorraine and David track down “The List” and protect the source (Eddie Marsan) who gave it to them, they face threats from Russian adversaries, black marketers, and a double-agent referred to as “Sachel.” \u003c/p>\n\u003cp>Director David Leitch spent nearly two decades as a stuntman and stunt coordinator before he and his partner, Chad Stahelski, put their choreographic skills to use on the terrific Keanu Reeves action thriller \u003cem>John Wick\u003c/em>. (Only Stahelski is credited, but the two co-directed.) \u003cem>John Wick\u003c/em> and its sequel made a kind of macabre ballet out of Reeves’ retired assassin shooting dozens of henchmen in the head for two hours. American films had been trying to mimic Hong Kong action cinema since John Woo and Chow Yun-Fat revolutionized the action genre with \u003cem>The Killer\u003c/em> and \u003cem>Hard-Boiled\u003c/em>, but Leitch and Stahelski were the first to fully capture the savage beauty of its aestheticized violence. It may be style over substance — but wow what style! \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the Cold War trappings, \u003cem>Atomic Blonde\u003c/em> continues along the same lines, with the spy-versus-spy intrigue serving mainly as a delivery system for magnificent butt-kickings. Leitch clears his throat with a sequence where Lorraine fends off two assailants inside a moving car, using the business end of a red high-heeled shoe as her weapon of choice. From there, he offers a striking range of different looks, including a bravura single-shot scene of close combat near an stairwell, an apartment melee where Lorraine relies on available materials (chiefly a garden hose), and a behind-the-screen silhouette fight at an East German theater showing Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>. \u003c/p>\n\u003cp>Though Lorraine’s fight for survival in this changing and confusing time isn’t as clear and effective a motivation as Reeves avenging his dog’s death in \u003cem>John Wick\u003c/em>, the premise does give Leitch the opportunity to explore the graphic possibilities of the setting and uncork a soundtrack that includes moody delectables like David Bowie’s “Cat People (Putting Out Fire),” ‘Til Tuesday’s “Voices Carry” and Depeche Mode’s “Behind the Wheel.” \u003cem>Atomic Blonde\u003c/em> is foremost an entry in the cinema of cool, with each fussed-over frame drenched in the noir trappings of chiaroscuro lighting and cigarette smoke or luxuriating in late-’80s German iconography or the contours of beautiful bodies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Atomic Blonde\u003c/em> may be high in empty calories, but craftsmanship of this level is rare and exhilarating, and worth surviving some muddled plotting to appreciate. Theron has a background as a dancer — she trained in ballet until a knee injury altered her career — and the choreography not only serves the deadly elegance of her form, but makes the camera her invisible partner. Their \u003cem>pas de deux\u003c/em> is a knockout.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13755414/atomic-blonde-is-a-blast",
"authors": [
"byline_arts_13755414"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13755415",
"label": "arts_137"
},
"arts_13741633": {
"type": "posts",
"id": "arts_13741633",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13741633",
"score": null,
"sort": [
1501029669000
]
},
"guestAuthors": [],
"slug": "feeling-young-scrappy-and-hungry-have-a-hamilton-inspired-meal",
"title": "Feeling 'Young, Scrappy And Hungry'? Have a 'Hamilton'-Inspired Meal",
"publishDate": 1501029669,
"format": "standard",
"headTitle": "Feeling ‘Young, Scrappy And Hungry’? Have a ‘Hamilton’-Inspired Meal | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>There’s nothing like fandom to encourage innovation, and the devotees of the Broadway hit \u003cem>Hamilton: An American Musical\u003c/em> are no exception — whether they’ve actually seen the show in person or have memorized every lyric of the 46 songs on the soundtrack album. So it was only a matter of time before enthusiastic fans were going to search out culinary tributes to their most treasured folk hero.\u003c/p>\n\u003cp>While the “Founding Father without a father” doesn’t seem to have been much of a foodie, his abbreviated signature has been enough to inspire an A. Ham Sandwich — yes, really. Historians have culled a handful of culinary references that have provided enough of a springboard for \u003ca href=\"http://coolmompicks.com/blog/2017/02/20/best-hamilton-party-ideas-decor-invitations-treats/\">enterprising bloggers\u003c/a>, mixologists and the parents of \u003cem>Hamilton\u003c/em>-crazed kids determined to have a \u003ca href=\"http://www.huffingtonpost.com/entry/8-year-old-didnt-throw-away-her-shot-to-have-a-hamilton-birthday-party_us_593ab040e4b0c5a35c9eb73d\">birthday party themed after the musical\u003c/a>. You’ll find plenty of suggested menus on Ye Olde Internet, from “Aaron Burr-gers” to “Hercules Mulliga-tawny Soup” — and who wouldn’t want a trio of \u003ca href=\"https://www.pinterest.com/pin/137922807318393346\">Schuyler Sisters cakes\u003c/a> adapted from classic Barbie Doll cake recipes?\u003c/p>\n\u003cp>Of course, if you’re a purist — and Hamilton would love a purist — then history has its eyes on you.\u003c/p>\n\u003cp>From a historical perspective, there are scant clues into Hamilton’s diet, starting with the 18th-century bodega that his mother, Rachel, opened in 1765 on the island of St. Croix, when Alexander and his older brother, James, were boys. From here, she supplied local planters with salted codfish and pork, apples, butter and flour. After her death three years later, Rachel’s two sons eventually went their separate ways. Working as a clerk in a trading house, Alexander, then a young teen, definitely showed an interest in food — but, as was his wont, primarily in terms of commerce, making hefty profits for the company by “tradin’ sugar cane and rum and all the things he can’t afford,” as sung in the musical’s opening number.\u003c/p>\n\u003cfigure id=\"attachment_13741635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe\" alt=\"The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton's diet\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13741635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-520x390.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton’s diet \u003ccite>(National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Author Laura Kumin examines the cuisine of Hamilton’s world in \u003cem>The Hamilton Cookbook\u003c/em>, to be released in November by Post Hill Press, by delving into the food history of the time and gleaning scraps of insight from a variety of sources.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, Hamilton’s wife, Eliza, would have brought a Dutch influence to the family table, based on the ancestral traditions that she grew up with. Think hearty split pea soup served with rye bread, topped with Dutch-style smoked bacon.\u003c/p>\n\u003cp>Meanwhile, Kumin writes, a West Indian Pepper Pot Soup, as popular in Revolutionary-era Philadelphia as it was in the Caribbean, recalls Hamilton’s island origins, and it turns out that Alexander and Eliza loved ice cream, introducing the dessert to George and Martha Washington when they hosted them for dinner in 1789.\u003c/p>\n\u003cp>Paterson, N.J., a city that Hamilton is credited with founding in 1791 as an industrial hub, is perhaps the site of the first documented Hamiltonian meal. \u003ca href=\"http://www.hamiltonpartnership.org/celebratehamilton\">Picnicking on the banks of the Passaic River in 1778\u003c/a> with Hamilton, Washington and the Marquis de Lafayette, aide-de-camp James McHenry wrote that the men feasted on a “modest repast of … cold ham, tongue, and some biscuit. With the assistance of a little spirit, we composed some excellent grog.”\u003c/p>\n\u003cp>No stranger to grog and other libations, Hamilton and his friends did seem to frequently “raise a glass to freedom,” inspiring plenty of modern \u003ca href=\"https://www.buzzfeed.com/FeliciaFitzpatrick/the-hamilton-musical-drinking-game-jbnr?utm_term=.qbLW9Qn1k#.id8vM9zBP\">drinking games\u003c/a> – as well as the Broadway musical’s \u003ca href=\"http://people.com/food/hamilton-musical-cocktail-recipe-lin-manuel-miranda/\">cocktail menu\u003c/a>. Some of the drinks to be had at the Richard Rodgers Theatre include the Hamiltini, featuring Hamilton Small Batch Vodka from upstate New York and the Founder’s Fizz, a blend of gin, lime juice, sugar and seltzer. It’s basically a classic gin rickey, which happens to be Washington, D.C.’s \u003ca href=\"http://www.npr.org/2011/07/15/138151925/washington-d-c-s-official-drink-the-rickey\">official cocktail\u003c/a>. There’s some irony to the fact that the Broadway version is made with British-made Beefeater Gin — perhaps just a tip of the hat to King George III.\u003c/p>\n\u003cp>Although imbibing liquor throughout the day was common during Hamilton’s time, John Adams — no fan of the upstart immigrant, whom he referred to as the “\u003ca href=\"https://founders.archives.gov/documents/Adams/99-02-02-5119\">bastard brat of a Scotch Pedler\u003c/a>” — complained that the first secretary of the Treasury wasn’t able to drink wine “without getting silly and vaporing about his administration like a young girl about her brilliants and trinkets.”\u003c/p>\n\u003cp>Hamilton may not have been able to hold his liquor, but it appears that coffee was his true vice, anyway. Writing in his biography \u003cem>Alexander Hamilton\u003c/em>, upon which the musical was based, historian Ron Chernow noted that Hamilton’s java habit, as described by a contemporary, may have helped the Founding Father to write like he was running out of time:\u003c/p>\n\u003cblockquote>\n\u003cp>“… having slept six or seven hours, he rose and having taken strong coffee, seated himself at his table, where he would remain six, seven, or eight hours. And the product of his rapid pen required little correction for the press.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The one person who may have actually impressed Hamilton at the dinner table was, ironically, his political rival — not Aaron Burr, but Thomas Jefferson. Often considered America’s Founding Foodie, Jefferson, originally played in the musical by Daveed Diggs, liked to negotiate during meals. In the song “The Room Where It Happens,” Diggs details the Compromise of 1790, also known as the “dinner table bargain” between Jefferson, Madison and Hamilton, singing, “Well, I arranged the meeting/I arranged the menu, the venue, the seating.”\u003c/p>\n\u003cfigure id=\"attachment_13741637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe\" alt=\"In addition to cocktails inspired by 'Hamilton,' The PrivateBank Theatre in Chicago sells "Revolutionary Pyes" -- as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts.\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13741637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-160x99.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-768x476.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1020x633.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1920x1191.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1180x732.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-960x595.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-240x149.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-375x233.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-520x323.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to cocktails inspired by ‘Hamilton,’ The PrivateBank Theatre in Chicago sells “Revolutionary Pyes” — as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts. \u003ccite>(Courtesy of Eli's Cheesecake Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The proof of Jefferson’s mastery of the art of the dinner party was in the pudding. As Charles Cerami recounted in his history \u003cem>Dinner at Mr. Jefferson’s\u003c/em>, guests, including Hamilton, were treated to extravagant menus filled with French flair — from capon stuffed with Virginia ham and chestnut puree with a cream-and-brandy-based Calvados sauce, to \u003ca href=\"https://www.monticello.org/site/research-and-collections/jeffersonian-dinners\">\u003cem>boeuf a la mode,\u003c/em>\u003c/a> a beef stew that was a staple at Monticello.\u003c/p>\n\u003cp>But clearly it was dessert that made Hamilton swoon:\u003c/p>\n\u003cblockquote>\n\u003cp>“At the precise moment when the evening was approaching perfection,” writes Cerami, “came the universally favorite dessert — the delicious vanilla ice cream that still seemed like a miracle, for it was enclosed in a warm pastry, like a cream puff, giving the illusion that the ice cream had come straight from the oven. It never failed to elicit cries from the groups of diners at Monticello, and it did not fail now. Even Madison gave a small squeal, and Hamilton positively exulted.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still, if you don’t have a sweet tooth, then there’s only one other way to end a Hamilton-esque meal.\u003c/p>\n\u003cp>Yes, with \u003ca href=\"https://www.goodfoodstories.com/alexander-hamilton-cocktail/\">a shot\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kristenhartke.com\">\u003cem>Kristen Hartke\u003c/em>\u003c/a>\u003cem> is a food and beverage writer based in Washington, D.C.\u003c/em>\u003c/p>\n\u003chr>\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=Feeling+%27Young%2C+Scrappy+And+Hungry%27%3F+Have+A+%27Hamilton%27-Inspired+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "It was only a matter of time before fans of the Broadway hit sought out culinary tributes to their most treasured folk hero. Here are historically minded ideas to eat like the Founding Father.",
"status": "publish",
"parent": 0,
"modified": 1726785582,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1267
},
"headData": {
"title": "Feeling 'Young, Scrappy And Hungry'? Have a 'Hamilton'-Inspired Meal | KQED",
"description": "It was only a matter of time before fans of the Broadway hit sought out culinary tributes to their most treasured folk hero. Here are historically minded ideas to eat like the Founding Father.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Feeling 'Young, Scrappy And Hungry'? Have a 'Hamilton'-Inspired Meal",
"datePublished": "2017-07-25T17:41:09-07:00",
"dateModified": "2024-09-19T15:39:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Kristen Hartke",
"nprImageAgency": "Courtesy of Alexis Murphy",
"nprStoryId": "538393424",
"nprApiLink": "http://api.npr.org/query?id=538393424&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thesalt/2017/07/24/538393424/feeling-young-scrappy-and-hungry-have-a-hamilton-inspired-meal?ft=nprml&f=538393424",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 25 Jul 2017 10:44:00 -0400",
"nprStoryDate": "Mon, 24 Jul 2017 14:35:00 -0400",
"nprLastModifiedDate": "Tue, 25 Jul 2017 10:44:17 -0400",
"path": "/arts/13741633/feeling-young-scrappy-and-hungry-have-a-hamilton-inspired-meal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s nothing like fandom to encourage innovation, and the devotees of the Broadway hit \u003cem>Hamilton: An American Musical\u003c/em> are no exception — whether they’ve actually seen the show in person or have memorized every lyric of the 46 songs on the soundtrack album. So it was only a matter of time before enthusiastic fans were going to search out culinary tributes to their most treasured folk hero.\u003c/p>\n\u003cp>While the “Founding Father without a father” doesn’t seem to have been much of a foodie, his abbreviated signature has been enough to inspire an A. Ham Sandwich — yes, really. Historians have culled a handful of culinary references that have provided enough of a springboard for \u003ca href=\"http://coolmompicks.com/blog/2017/02/20/best-hamilton-party-ideas-decor-invitations-treats/\">enterprising bloggers\u003c/a>, mixologists and the parents of \u003cem>Hamilton\u003c/em>-crazed kids determined to have a \u003ca href=\"http://www.huffingtonpost.com/entry/8-year-old-didnt-throw-away-her-shot-to-have-a-hamilton-birthday-party_us_593ab040e4b0c5a35c9eb73d\">birthday party themed after the musical\u003c/a>. You’ll find plenty of suggested menus on Ye Olde Internet, from “Aaron Burr-gers” to “Hercules Mulliga-tawny Soup” — and who wouldn’t want a trio of \u003ca href=\"https://www.pinterest.com/pin/137922807318393346\">Schuyler Sisters cakes\u003c/a> adapted from classic Barbie Doll cake recipes?\u003c/p>\n\u003cp>Of course, if you’re a purist — and Hamilton would love a purist — then history has its eyes on you.\u003c/p>\n\u003cp>From a historical perspective, there are scant clues into Hamilton’s diet, starting with the 18th-century bodega that his mother, Rachel, opened in 1765 on the island of St. Croix, when Alexander and his older brother, James, were boys. From here, she supplied local planters with salted codfish and pork, apples, butter and flour. After her death three years later, Rachel’s two sons eventually went their separate ways. Working as a clerk in a trading house, Alexander, then a young teen, definitely showed an interest in food — but, as was his wont, primarily in terms of commerce, making hefty profits for the company by “tradin’ sugar cane and rum and all the things he can’t afford,” as sung in the musical’s opening number.\u003c/p>\n\u003cfigure id=\"attachment_13741635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe\" alt=\"The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton's diet\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13741635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-520x390.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton’s diet \u003ccite>(National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Author Laura Kumin examines the cuisine of Hamilton’s world in \u003cem>The Hamilton Cookbook\u003c/em>, to be released in November by Post Hill Press, by delving into the food history of the time and gleaning scraps of insight from a variety of sources.\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>For instance, Hamilton’s wife, Eliza, would have brought a Dutch influence to the family table, based on the ancestral traditions that she grew up with. Think hearty split pea soup served with rye bread, topped with Dutch-style smoked bacon.\u003c/p>\n\u003cp>Meanwhile, Kumin writes, a West Indian Pepper Pot Soup, as popular in Revolutionary-era Philadelphia as it was in the Caribbean, recalls Hamilton’s island origins, and it turns out that Alexander and Eliza loved ice cream, introducing the dessert to George and Martha Washington when they hosted them for dinner in 1789.\u003c/p>\n\u003cp>Paterson, N.J., a city that Hamilton is credited with founding in 1791 as an industrial hub, is perhaps the site of the first documented Hamiltonian meal. \u003ca href=\"http://www.hamiltonpartnership.org/celebratehamilton\">Picnicking on the banks of the Passaic River in 1778\u003c/a> with Hamilton, Washington and the Marquis de Lafayette, aide-de-camp James McHenry wrote that the men feasted on a “modest repast of … cold ham, tongue, and some biscuit. With the assistance of a little spirit, we composed some excellent grog.”\u003c/p>\n\u003cp>No stranger to grog and other libations, Hamilton and his friends did seem to frequently “raise a glass to freedom,” inspiring plenty of modern \u003ca href=\"https://www.buzzfeed.com/FeliciaFitzpatrick/the-hamilton-musical-drinking-game-jbnr?utm_term=.qbLW9Qn1k#.id8vM9zBP\">drinking games\u003c/a> – as well as the Broadway musical’s \u003ca href=\"http://people.com/food/hamilton-musical-cocktail-recipe-lin-manuel-miranda/\">cocktail menu\u003c/a>. Some of the drinks to be had at the Richard Rodgers Theatre include the Hamiltini, featuring Hamilton Small Batch Vodka from upstate New York and the Founder’s Fizz, a blend of gin, lime juice, sugar and seltzer. It’s basically a classic gin rickey, which happens to be Washington, D.C.’s \u003ca href=\"http://www.npr.org/2011/07/15/138151925/washington-d-c-s-official-drink-the-rickey\">official cocktail\u003c/a>. There’s some irony to the fact that the Broadway version is made with British-made Beefeater Gin — perhaps just a tip of the hat to King George III.\u003c/p>\n\u003cp>Although imbibing liquor throughout the day was common during Hamilton’s time, John Adams — no fan of the upstart immigrant, whom he referred to as the “\u003ca href=\"https://founders.archives.gov/documents/Adams/99-02-02-5119\">bastard brat of a Scotch Pedler\u003c/a>” — complained that the first secretary of the Treasury wasn’t able to drink wine “without getting silly and vaporing about his administration like a young girl about her brilliants and trinkets.”\u003c/p>\n\u003cp>Hamilton may not have been able to hold his liquor, but it appears that coffee was his true vice, anyway. Writing in his biography \u003cem>Alexander Hamilton\u003c/em>, upon which the musical was based, historian Ron Chernow noted that Hamilton’s java habit, as described by a contemporary, may have helped the Founding Father to write like he was running out of time:\u003c/p>\n\u003cblockquote>\n\u003cp>“… having slept six or seven hours, he rose and having taken strong coffee, seated himself at his table, where he would remain six, seven, or eight hours. And the product of his rapid pen required little correction for the press.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The one person who may have actually impressed Hamilton at the dinner table was, ironically, his political rival — not Aaron Burr, but Thomas Jefferson. Often considered America’s Founding Foodie, Jefferson, originally played in the musical by Daveed Diggs, liked to negotiate during meals. In the song “The Room Where It Happens,” Diggs details the Compromise of 1790, also known as the “dinner table bargain” between Jefferson, Madison and Hamilton, singing, “Well, I arranged the meeting/I arranged the menu, the venue, the seating.”\u003c/p>\n\u003cfigure id=\"attachment_13741637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe\" alt=\"In addition to cocktails inspired by 'Hamilton,' The PrivateBank Theatre in Chicago sells "Revolutionary Pyes" -- as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts.\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13741637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-160x99.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-768x476.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1020x633.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1920x1191.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1180x732.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-960x595.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-240x149.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-375x233.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-520x323.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to cocktails inspired by ‘Hamilton,’ The PrivateBank Theatre in Chicago sells “Revolutionary Pyes” — as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts. \u003ccite>(Courtesy of Eli's Cheesecake Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The proof of Jefferson’s mastery of the art of the dinner party was in the pudding. As Charles Cerami recounted in his history \u003cem>Dinner at Mr. Jefferson’s\u003c/em>, guests, including Hamilton, were treated to extravagant menus filled with French flair — from capon stuffed with Virginia ham and chestnut puree with a cream-and-brandy-based Calvados sauce, to \u003ca href=\"https://www.monticello.org/site/research-and-collections/jeffersonian-dinners\">\u003cem>boeuf a la mode,\u003c/em>\u003c/a> a beef stew that was a staple at Monticello.\u003c/p>\n\u003cp>But clearly it was dessert that made Hamilton swoon:\u003c/p>\n\u003cblockquote>\n\u003cp>“At the precise moment when the evening was approaching perfection,” writes Cerami, “came the universally favorite dessert — the delicious vanilla ice cream that still seemed like a miracle, for it was enclosed in a warm pastry, like a cream puff, giving the illusion that the ice cream had come straight from the oven. It never failed to elicit cries from the groups of diners at Monticello, and it did not fail now. Even Madison gave a small squeal, and Hamilton positively exulted.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still, if you don’t have a sweet tooth, then there’s only one other way to end a Hamilton-esque meal.\u003c/p>\n\u003cp>Yes, with \u003ca href=\"https://www.goodfoodstories.com/alexander-hamilton-cocktail/\">a shot\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kristenhartke.com\">\u003cem>Kristen Hartke\u003c/em>\u003c/a>\u003cem> is a food and beverage writer based in Washington, D.C.\u003c/em>\u003c/p>\n\u003chr>\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=Feeling+%27Young%2C+Scrappy+And+Hungry%27%3F+Have+A+%27Hamilton%27-Inspired+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13741633/feeling-young-scrappy-and-hungry-have-a-hamilton-inspired-meal",
"authors": [
"byline_arts_13741633"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1119",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13741634",
"label": "arts_137"
},
"arts_13740500": {
"type": "posts",
"id": "arts_13740500",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13740500",
"score": null,
"sort": [
1501020803000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1501020803,
"format": "standard",
"title": "'Sorry,' Beliebers: Justin Bieber Has Abruptly Canceled the Rest of His Tour",
"headTitle": "‘Sorry,’ Beliebers: Justin Bieber Has Abruptly Canceled the Rest of His Tour | KQED",
"content": "\u003cp>Justin Bieber has spent the last 18 months on the road promoting his album “Purpose.” But after more than 150 shows on six continents, Bieber abruptly announced today that he is canceling the last leg of the tour. There were more than a dozen dates left across North America and East Asia, including high-profile stops at the MetLife Stadium in East Rutherford, N.J., the Rose Bowl Stadium in Pasadena, Calif. and Tokyo’s Ajinomoto Stadium.\u003c/p>\n\u003cp>Last week, the singer was barred from performing in China due to his “bad behavior,” the country’s Municipal Bureau of Culture \u003ca href=\"http://www.independent.co.uk/news/world/asia/justin-bieber-china-ban-concerts-performing-bad-behaviour-a7853616.html\" target=\"_blank\" rel=\"noopener\">asserted\u003c/a>.\u003c/p>\n\u003cp>The pop megastar’s team posted a \u003ca href=\"http://www.justinbiebermusic.com/\" target=\"_blank\" rel=\"noopener\">message\u003c/a> on his website this afternoon, stating that his cancellation was due to “unforeseen circumstances.” But the tour has already been highly lucrative: as of April, it had grossed about \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7751681/justin-bieber-purpose-world-tour-earnings\" target=\"_blank\" rel=\"noopener\">$200 million\u003c/a>, according to \u003cem>Billboard\u003c/em> Magazine. \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=%27Sorry%2C%27+Beliebers%3A+Justin+Bieber+Has+Abruptly+Canceled+The+Rest+Of+His+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 165,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705029953,
"excerpt": "After 150 shows, Canadian pop megastar Justin Bieber suddenly announced today that he has canceled the rest of his world tour.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After 150 shows, Canadian pop megastar Justin Bieber suddenly announced today that he has canceled the rest of his world tour.",
"title": "'Sorry,' Beliebers: Justin Bieber Has Abruptly Canceled the Rest of His Tour | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Sorry,' Beliebers: Justin Bieber Has Abruptly Canceled the Rest of His Tour",
"datePublished": "2017-07-25T15:13:23-07:00",
"dateModified": "2024-01-11T19:25:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sorry-beliebers-justin-bieber-has-abruptly-canceled-the-rest-of-his-tour",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=539103326&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Mon, 24 Jul 2017 17:48:00 -0400",
"nprLastModifiedDate": "Mon, 24 Jul 2017 18:04:57 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/07/24/539103326/sorry-beliebers-justin-bieber-has-abruptly-canceled-the-rest-of-his-tour?ft=nprml&f=539103326",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Punit Paranjpe",
"nprStoryId": "539103326",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 24 Jul 2017 18:04:00 -0400",
"path": "/arts/13740500/sorry-beliebers-justin-bieber-has-abruptly-canceled-the-rest-of-his-tour",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Justin Bieber has spent the last 18 months on the road promoting his album “Purpose.” But after more than 150 shows on six continents, Bieber abruptly announced today that he is canceling the last leg of the tour. There were more than a dozen dates left across North America and East Asia, including high-profile stops at the MetLife Stadium in East Rutherford, N.J., the Rose Bowl Stadium in Pasadena, Calif. and Tokyo’s Ajinomoto Stadium.\u003c/p>\n\u003cp>Last week, the singer was barred from performing in China due to his “bad behavior,” the country’s Municipal Bureau of Culture \u003ca href=\"http://www.independent.co.uk/news/world/asia/justin-bieber-china-ban-concerts-performing-bad-behaviour-a7853616.html\" target=\"_blank\" rel=\"noopener\">asserted\u003c/a>.\u003c/p>\n\u003cp>The pop megastar’s team posted a \u003ca href=\"http://www.justinbiebermusic.com/\" target=\"_blank\" rel=\"noopener\">message\u003c/a> on his website this afternoon, stating that his cancellation was due to “unforeseen circumstances.” But the tour has already been highly lucrative: as of April, it had grossed about \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7751681/justin-bieber-purpose-world-tour-earnings\" target=\"_blank\" rel=\"noopener\">$200 million\u003c/a>, according to \u003cem>Billboard\u003c/em> Magazine. \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=%27Sorry%2C%27+Beliebers%3A+Justin+Bieber+Has+Abruptly+Canceled+The+Rest+Of+His+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13740500/sorry-beliebers-justin-bieber-has-abruptly-canceled-the-rest-of-his-tour",
"authors": [
"byline_arts_13740500"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13740501",
"label": "arts_137"
},
"arts_13740275": {
"type": "posts",
"id": "arts_13740275",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13740275",
"score": null,
"sort": [
1501014811000
]
},
"guestAuthors": [],
"slug": "the-enduring-legacy-of-jane-austens-truth-universally-acknowledged",
"title": "The Enduring Legacy of Jane Austen's 'Truth Universally Acknowledged'",
"publishDate": 1501014811,
"format": "standard",
"headTitle": "The Enduring Legacy of Jane Austen’s ‘Truth Universally Acknowledged’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>Geoff Nunberg (\u003c/em>\u003ca href=\"https://twitter.com/GeoffNunberg\">@GeoffNunberg\u003c/a>) \u003cem>is a linguist who teaches at the School of Information at the University of California at Berkeley.\u003c/em>\u003c/p>\n\u003cp>Shortly after Amazon introduced the Kindle, they put up a page with a ranked list of the most frequently highlighted passages across all the books. It’s not there anymore, but when I first looked at the list in 2013, the opening sentence of \u003cem>Pride and Prejudice\u003c/em> was in third place. That was all the more impressive because eight of the other top 10 finishers were passages from the \u003cem>Hunger Games\u003c/em> series, which was the hit of the season that year, as Austen’s novel had been exactly 200 years earlier.\u003c/p>\n\u003cp>“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”\u003c/p>\n\u003cp>We can argue about whether that’s the most famous first line in English literature or whether the honor belongs to the opening sentence of \u003cem>Moby Dick\u003c/em> or \u003cem>A Tale of Two Cities\u003c/em> or \u003cem>1984\u003c/em>. But there’s no other opening sentence that lends itself so well to sampling, mash-ups and adaptation.\u003c/p>\n\u003cp>If you’re looking to add a literary touch to your article on \u003ca href=\"http://www.pensions-expert.com/index.php/DC-Auto-enrolment/Default-DC-structures-require-closer-scrutiny\">pension schemes\u003c/a> or \u003ca href=\"http://humblebeehome.blogspot.com/2014/02/it-is-truth-universally-acknowledged.html\">emergency contraceptives\u003c/a>, you’re not going to get very far with “Call me Ishmael.” But “It is a truth universally acknowledged” is always available as an elegant replacement for “As everybody knows” when you want to introduce some banal truism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The phrase is ubiquitous in the age of Jane-o-mania. Rummage around on the Internet and you’ll learn that it is a truth universally acknowledged that a “pop star in possession of a good fortune must be \u003ca href=\"https://blogs.wsj.com/speakeasy/2013/08/13/fans-show-pride-in-jane-austen-and-prejudice-against-kelly-clarkson/\">in want of baubles\u003c/a>,” that business class \u003ca href=\"https://www.thelocal.no/20170404/10-reasons-to-get-on-board-with-qatar-airways-qsuite-qatar-tlccu\">is more comfortable\u003c/a> than economy, that “\u003ca href=\"https://www.yahoo.com/style/grandpa-got-stood-internet-isnt-155500930.html\">online dating sucks\u003c/a>” and, needless to say, that Jane Austen “\u003ca href=\"http://ew.com/article/2013/01/28/pride-and-prejudice-anniversary-colin-firth/?http://p=872946\">has left quite a mark\u003c/a> on pop culture.”\u003c/p>\n\u003cp>Here’s the puzzling thing. Those adaptations of Austen’s sentence are almost never ironic or facetious. They only underscore the prevailing wisdom, rather than throwing it into question.\u003c/p>\n\u003cp>Yet my guess is that a large portion of the people who adapt that sentence know perfectly well that the original version is anything but straightforward. It may be the single most celebrated example of literary irony in all of English literature. Pick up a paperback of \u003cem>Pride and Prejudice\u003c/em> at a garage sale and it’s even money you’ll find the first sentence underlined with “IRONY” written in the margin.\u003c/p>\n\u003cp>The sentence may look like a truism, but the first part actually undermines the second. In her book \u003cem>Why Jane Austen\u003c/em>, Rachel Brownstein points out that if the novel had begun simply with “A single man possessed of a good fortune must be in want of a wife,” we’d snuggle in for a stock romantic story. We might expect the next sentence to describe an aristocratic Colin Firth lookalike galloping full-tilt toward the Bennets’ house at Longbourn.\u003c/p>\n\u003cp>But prefacing that clause with “It is a truth universally acknowledged” implies that’s only what most people say they believe — after all, if everybody really does accept it, why bother to mention the fact? In fact, as Austen says in the following sentence, nobody really cares what the wealthy man himself thinks he needs. There’s only one truth that matters to Mrs. Bennet and the other families in the neighborhood — that a daughter who has no fortune must be found a well-to-do husband to look after her, which Mrs. Bennet has made “the business of her life.”\u003c/p>\n\u003cp>But we suspect that Austen has her reservations about that single-minded pursuit of an advantageous marriage, even if she doesn’t say so outright. And we’re flattered to think that she counts on astute readers like us to pick up on that, while others will miss it. It makes us feel complicit with her. As the modernist writer Katherine Mansfield wrote in 1920, “every true admirer of [Austen’s] novels cherishes the happy thought that he alone — reading between the lines — has become the secret friend of their author.” (That pronoun “he” gives us a start now, but bear in mind that back then the most prominent Austen devotees were the male literati of the Bloomsbury set.)\u003c/p>\n\u003cp>Austen’s sentence is a masterpiece of indirection, and it’s no wonder that people keep trying to repurpose it in the hope that they can pluck it from its original context and its irony will somehow cling to its roots. But that can’t happen without the covert wink, the tip-off to the sharp reader that the truth isn’t as pat as the rest of the sentence makes it seem. Otherwise, the phrase is an empty gesture. It merely signifies irony, the way an empire waistline or a neck cloth signifies Regency gentility.\u003c/p>\n\u003cp>OK, it’s just a sentence. But it points to what always happens when Austen is repackaged for export. There have been some wonderful stage, \u003ca href=\"https://www.youtube.com/watch?v=sk4hAHHB7L8\">film\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice_(1980_TV_series)\">TV adaptations\u003c/a> of \u003cem>Pride and Prejudice\u003c/em> over the years. But as charming as they are, they can only depict the second half of that opening sentence, the Colin Firth \u003ca href=\"https://www.youtube.com/watch?v=hasKmDr1yrA\">bits\u003c/a>. We get a beguiling story of romance and courtship. But we don’t see it at Austen’s skeptical remove. We miss the arched eyebrow, the sly and confiding voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the paradox of Austen’s novels. Like the opening sentence of \u003cem>Pride and Prejudice\u003c/em>, they cry out for adaptation. They seem infinitely resilient: You can relocate them to \u003ca href=\"http://www.npr.org/2015/07/17/423740582/in-clothes-and-language-clueless-offered-counterpoint-to-grunge-crowd\">Beverly Hills\u003c/a> or \u003ca href=\"https://en.wikipedia.org/wiki/Aisha_(film)\">Delhi\u003c/a>; rewrite them as \u003ca href=\"http://www.npr.org/2011/11/29/142848012/pride-and-prejudice-meets-clue-at-pemberley\">murder mysteries\u003c/a> or \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/10/thank-the-bbc-for-jane-austen-erotica/412039/\">erotica\u003c/a>; populate them with \u003ca href=\"https://books.google.com/books?id=rrYemmZ_P5gC&printsec=frontcover#v=onepage&q&f=false\">vampires\u003c/a> or \u003ca href=\"http://www.npr.org/2016/02/04/465305804/these-zombies-make-an-austen-update-even-the-undead-cant-revive\">zombies\u003c/a> — they’ll always retain some trace of their original appeal. Yet there are few other novels so unwilling to give up their souls. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Enduring+Legacy+Of+Jane+Austen%27s+%27Truth+Universally+Acknowledged%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Linguist Geoff Nunberg describes the opening sentence to \u003cem>Pride and Prejudice\u003c/em> as a \"masterpiece of indirection\" that is frequently repurposed, but whose irony is never matched.",
"status": "publish",
"parent": 0,
"modified": 1726703185,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1038
},
"headData": {
"title": "The Enduring Legacy of Jane Austen's 'Truth Universally Acknowledged' | KQED",
"description": "Linguist Geoff Nunberg describes the opening sentence to Pride and Prejudice as a "masterpiece of indirection" that is frequently repurposed, but whose irony is never matched.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Enduring Legacy of Jane Austen's 'Truth Universally Acknowledged'",
"datePublished": "2017-07-25T13:33:31-07:00",
"dateModified": "2024-09-18T16:46:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "De Agostini Picture Library",
"nprByline": "Geoff Nunberg",
"nprImageAgency": "Getty Images",
"nprStoryId": "538609475",
"nprApiLink": "http://api.npr.org/query?id=538609475&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2017/07/25/538609475/the-enduring-legacy-of-jane-austens-truth-universally-acknowledged?ft=nprml&f=538609475",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 25 Jul 2017 15:16:00 -0400",
"nprStoryDate": "Tue, 25 Jul 2017 14:09:00 -0400",
"nprLastModifiedDate": "Tue, 25 Jul 2017 15:16:05 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2017/07/20170725_fa_02.mp3?orgId=427869011&topicId=1057&d=347&p=13&story=538609475&t=progseg&e=539238756&seg=2&ft=nprml&f=538609475",
"nprAudioM3u": "http://api.npr.org/m3u/1539315286-1d154b.m3u?orgId=427869011&topicId=1057&d=347&p=13&story=538609475&t=progseg&e=539238756&seg=2&ft=nprml&f=538609475",
"path": "/arts/13740275/the-enduring-legacy-of-jane-austens-truth-universally-acknowledged",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2017/07/20170725_fa_02.mp3?orgId=427869011&topicId=1057&d=347&p=13&story=538609475&t=progseg&e=539238756&seg=2&ft=nprml&f=538609475",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Geoff Nunberg (\u003c/em>\u003ca href=\"https://twitter.com/GeoffNunberg\">@GeoffNunberg\u003c/a>) \u003cem>is a linguist who teaches at the School of Information at the University of California at Berkeley.\u003c/em>\u003c/p>\n\u003cp>Shortly after Amazon introduced the Kindle, they put up a page with a ranked list of the most frequently highlighted passages across all the books. It’s not there anymore, but when I first looked at the list in 2013, the opening sentence of \u003cem>Pride and Prejudice\u003c/em> was in third place. That was all the more impressive because eight of the other top 10 finishers were passages from the \u003cem>Hunger Games\u003c/em> series, which was the hit of the season that year, as Austen’s novel had been exactly 200 years earlier.\u003c/p>\n\u003cp>“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”\u003c/p>\n\u003cp>We can argue about whether that’s the most famous first line in English literature or whether the honor belongs to the opening sentence of \u003cem>Moby Dick\u003c/em> or \u003cem>A Tale of Two Cities\u003c/em> or \u003cem>1984\u003c/em>. But there’s no other opening sentence that lends itself so well to sampling, mash-ups and adaptation.\u003c/p>\n\u003cp>If you’re looking to add a literary touch to your article on \u003ca href=\"http://www.pensions-expert.com/index.php/DC-Auto-enrolment/Default-DC-structures-require-closer-scrutiny\">pension schemes\u003c/a> or \u003ca href=\"http://humblebeehome.blogspot.com/2014/02/it-is-truth-universally-acknowledged.html\">emergency contraceptives\u003c/a>, you’re not going to get very far with “Call me Ishmael.” But “It is a truth universally acknowledged” is always available as an elegant replacement for “As everybody knows” when you want to introduce some banal truism.\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 phrase is ubiquitous in the age of Jane-o-mania. Rummage around on the Internet and you’ll learn that it is a truth universally acknowledged that a “pop star in possession of a good fortune must be \u003ca href=\"https://blogs.wsj.com/speakeasy/2013/08/13/fans-show-pride-in-jane-austen-and-prejudice-against-kelly-clarkson/\">in want of baubles\u003c/a>,” that business class \u003ca href=\"https://www.thelocal.no/20170404/10-reasons-to-get-on-board-with-qatar-airways-qsuite-qatar-tlccu\">is more comfortable\u003c/a> than economy, that “\u003ca href=\"https://www.yahoo.com/style/grandpa-got-stood-internet-isnt-155500930.html\">online dating sucks\u003c/a>” and, needless to say, that Jane Austen “\u003ca href=\"http://ew.com/article/2013/01/28/pride-and-prejudice-anniversary-colin-firth/?http://p=872946\">has left quite a mark\u003c/a> on pop culture.”\u003c/p>\n\u003cp>Here’s the puzzling thing. Those adaptations of Austen’s sentence are almost never ironic or facetious. They only underscore the prevailing wisdom, rather than throwing it into question.\u003c/p>\n\u003cp>Yet my guess is that a large portion of the people who adapt that sentence know perfectly well that the original version is anything but straightforward. It may be the single most celebrated example of literary irony in all of English literature. Pick up a paperback of \u003cem>Pride and Prejudice\u003c/em> at a garage sale and it’s even money you’ll find the first sentence underlined with “IRONY” written in the margin.\u003c/p>\n\u003cp>The sentence may look like a truism, but the first part actually undermines the second. In her book \u003cem>Why Jane Austen\u003c/em>, Rachel Brownstein points out that if the novel had begun simply with “A single man possessed of a good fortune must be in want of a wife,” we’d snuggle in for a stock romantic story. We might expect the next sentence to describe an aristocratic Colin Firth lookalike galloping full-tilt toward the Bennets’ house at Longbourn.\u003c/p>\n\u003cp>But prefacing that clause with “It is a truth universally acknowledged” implies that’s only what most people say they believe — after all, if everybody really does accept it, why bother to mention the fact? In fact, as Austen says in the following sentence, nobody really cares what the wealthy man himself thinks he needs. There’s only one truth that matters to Mrs. Bennet and the other families in the neighborhood — that a daughter who has no fortune must be found a well-to-do husband to look after her, which Mrs. Bennet has made “the business of her life.”\u003c/p>\n\u003cp>But we suspect that Austen has her reservations about that single-minded pursuit of an advantageous marriage, even if she doesn’t say so outright. And we’re flattered to think that she counts on astute readers like us to pick up on that, while others will miss it. It makes us feel complicit with her. As the modernist writer Katherine Mansfield wrote in 1920, “every true admirer of [Austen’s] novels cherishes the happy thought that he alone — reading between the lines — has become the secret friend of their author.” (That pronoun “he” gives us a start now, but bear in mind that back then the most prominent Austen devotees were the male literati of the Bloomsbury set.)\u003c/p>\n\u003cp>Austen’s sentence is a masterpiece of indirection, and it’s no wonder that people keep trying to repurpose it in the hope that they can pluck it from its original context and its irony will somehow cling to its roots. But that can’t happen without the covert wink, the tip-off to the sharp reader that the truth isn’t as pat as the rest of the sentence makes it seem. Otherwise, the phrase is an empty gesture. It merely signifies irony, the way an empire waistline or a neck cloth signifies Regency gentility.\u003c/p>\n\u003cp>OK, it’s just a sentence. But it points to what always happens when Austen is repackaged for export. There have been some wonderful stage, \u003ca href=\"https://www.youtube.com/watch?v=sk4hAHHB7L8\">film\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice_(1980_TV_series)\">TV adaptations\u003c/a> of \u003cem>Pride and Prejudice\u003c/em> over the years. But as charming as they are, they can only depict the second half of that opening sentence, the Colin Firth \u003ca href=\"https://www.youtube.com/watch?v=hasKmDr1yrA\">bits\u003c/a>. We get a beguiling story of romance and courtship. But we don’t see it at Austen’s skeptical remove. We miss the arched eyebrow, the sly and confiding voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the paradox of Austen’s novels. Like the opening sentence of \u003cem>Pride and Prejudice\u003c/em>, they cry out for adaptation. They seem infinitely resilient: You can relocate them to \u003ca href=\"http://www.npr.org/2015/07/17/423740582/in-clothes-and-language-clueless-offered-counterpoint-to-grunge-crowd\">Beverly Hills\u003c/a> or \u003ca href=\"https://en.wikipedia.org/wiki/Aisha_(film)\">Delhi\u003c/a>; rewrite them as \u003ca href=\"http://www.npr.org/2011/11/29/142848012/pride-and-prejudice-meets-clue-at-pemberley\">murder mysteries\u003c/a> or \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/10/thank-the-bbc-for-jane-austen-erotica/412039/\">erotica\u003c/a>; populate them with \u003ca href=\"https://books.google.com/books?id=rrYemmZ_P5gC&printsec=frontcover#v=onepage&q&f=false\">vampires\u003c/a> or \u003ca href=\"http://www.npr.org/2016/02/04/465305804/these-zombies-make-an-austen-update-even-the-undead-cant-revive\">zombies\u003c/a> — they’ll always retain some trace of their original appeal. Yet there are few other novels so unwilling to give up their souls. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Enduring+Legacy+Of+Jane+Austen%27s+%27Truth+Universally+Acknowledged%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13740275/the-enduring-legacy-of-jane-austens-truth-universally-acknowledged",
"authors": [
"byline_arts_13740275"
],
"categories": [
"arts_73"
],
"tags": [
"arts_991",
"arts_1118",
"arts_596",
"arts_4358"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13740282",
"label": "arts_137"
},
"arts_13711788": {
"type": "posts",
"id": "arts_13711788",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13711788",
"score": null,
"sort": [
1500679593000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1500679593,
"format": "standard",
"title": "Salvador Dalí's Remains Exhumed, Revealing A Perfectly Arranged Mustache",
"headTitle": "Salvador Dalí’s Remains Exhumed, Revealing A Perfectly Arranged Mustache | KQED",
"content": "\u003cp>The remains of Salvador Dalí were exhumed Thursday night, pulled from their resting place by Spanish officials hoping to confirm whether the surrealist painter fathered a child in an affair. The closed procedure extracted some hair samples, nails, teeth and two long bones from the artist’s embalmed body, the DNA of which might offer the conclusive answer to a high-profile paternity lawsuit long underway.\u003c/p>\n\u003cp>For now, that answer remains elusive — but forensic experts did uncover at least one curious fact when they pulled him briefly from his tomb at the Dalí Museum Theater in Figueres: His iconic mustache remains perfectly intact.\u003c/p>\n\u003cp>“The mustache preserved its classic 10-past-10 position,” Lluís Peñuelas, secretary-general of the Dalí Foundation, \u003ca href=\"https://elpais.com/cultura/2017/07/21/actualidad/1500616779_353229.html\" target=\"_blank\" rel=\"noopener\">told the Spanish newspaper El Pais\u003c/a>. “Checking it was a very exciting moment.”\u003c/p>\n\u003cp>The paper notes the forensic doctor who embalmed Dalí in 1989 was also on hand for Thursday’s operation, which was conducted with a pulley and concluded just hours after it began.\u003c/p>\n\u003cp>It was “a miracle,” Narcís Bardalet told a local radio station, \u003ca href=\"https://www.nytimes.com/2017/07/21/world/europe/salvador-dali-exhumed-paternity.html\" target=\"_blank\" rel=\"noopener\">according to The New York Times\u003c/a>. “Salvador Dalí is forever.”\u003c/p>\n\u003cfigure id=\"attachment_13711790\" class=\"wp-caption aligncenter\" style=\"max-width: 4753px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg\" alt=\"Tourists visit Salvador Dali's tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains\" width=\"4753\" height=\"3565\" class=\"size-full wp-image-13711790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg 4753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-520x390.jpg 520w\" sizes=\"(max-width: 4753px) 100vw, 4753px\">\u003cfigcaption class=\"wp-caption-text\">Tourists visit Salvador Dali’s tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains \u003ccite>(Lluis Gene/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He might also be a father. At least, that’s what 61-year-old tarot card reader Pilar Abel alleges, saying Dalí had an affair with her mother back in 1955 — one year before her birth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The first time I saw him, I was a little girl,” she told reporters three years ago, when she filed her lawsuit for partial claim to Dalí’s estate. “I was out for a walk with my grandmother, and she pointed him out.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/06/27/534516129/paternity-suit-salvador-dalis-body-ordered-exhumed\" target=\"_blank\" rel=\"noopener\">As NPR’s Lauren Frayer reported last month\u003c/a>, Dalí was married around that time — though, characteristically, that marriage was a tad unconventional.\u003c/p>\n\u003cp>“He was married at the time to his muse Gala, who lived in a castle, which he visited with written permission only,” Lauren explained. “They had no children. Without an heir, Dalí left his fortune — in the hundreds of millions — to the Spanish state when he died in 1989.”\u003c/p>\n\u003cp>Abel went public with her claim in 2007 and has sought proof since then, saying she wishes to honor her mother’s memory. And her lawyer, Enrique Blanquez, says that proof would also entitle Abel to one-fourth of the Dalí estate, \u003ca href=\"http://hosted.ap.org/dynamic/stories/E/EU_SPAIN_DALI?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT\">according to The Associated Press\u003c/a>.\u003c/p>\n\u003cp>Peñuelas and the foundation, which manages the artist’s estate, fought the exhumation order \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/26/534411874/salvador-dal-s-body-ordered-exhumed-in-paternity-suit\" target=\"_blank\" rel=\"noopener\">issued by a Madrid judge last month\u003c/a> and vow to continue the fight in court.\u003c/p>\n\u003cp>“[The Foundation] considers the exhumation performed on Salvador Dalí’s remains entirely inappropriate,” the Dalí Foundation said in a statement \u003ca href=\"https://news.artnet.com/art-world/inside-salvador-dali-overnight-exhumation-1029929\" target=\"_blank\" rel=\"noopener\">quoted by Artnet\u003c/a>.\u003c/p>\n\u003cp>“Before agreeing to such an invasive act as the exhumation of Salvador Dalí in a museum, the claimant Pilar Abel Martínez — as proposed by the Foundation and the Spanish State — should have been required to carry out a DNA test to compare her DNA with that of her legal father (deceased) or her brother, to thereby obtain all available evidence that she is not their daughter or sister.”\u003c/p>\n\u003cp>Still, Abel remains convinced the forensic experts now on the case will prove her right — after all, she says, she looks just like him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The only thing missing is the mustache,” she says. \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=Salvador+Dal%C3%AD%27s+Remains+Exhumed%2C+Revealing+A+Perfectly+Arranged+Mustache&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 638,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705029985,
"excerpt": "When the late Spanish painter was exhumed for a paternity suit, experts discovered his distinctive mustache had kept its shape. \"Checking it was a very exciting moment,\" says the head of his estate.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When the late Spanish painter was exhumed for a paternity suit, experts discovered his distinctive mustache had kept its shape. "Checking it was a very exciting moment," says the head of his estate.",
"title": "Salvador Dalí's Remains Exhumed, Revealing A Perfectly Arranged Mustache | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Salvador Dalí's Remains Exhumed, Revealing A Perfectly Arranged Mustache",
"datePublished": "2017-07-21T16:26:33-07:00",
"dateModified": "2024-01-11T19:26:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "salvador-dalis-remains-exhumed-revealing-a-perfectly-arranged-mustache",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=538534970&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Colin Dwyer",
"nprStoryDate": "Fri, 21 Jul 2017 13:33:00 -0400",
"nprLastModifiedDate": "Fri, 21 Jul 2017 15:47:08 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/07/21/538534970/salvador-dal-s-remains-exhumed-revealing-a-perfectly-arranged-mustache?ft=nprml&f=538534970",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "AFP",
"nprStoryId": "538534970",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 21 Jul 2017 15:47:00 -0400",
"path": "/arts/13711788/salvador-dalis-remains-exhumed-revealing-a-perfectly-arranged-mustache",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The remains of Salvador Dalí were exhumed Thursday night, pulled from their resting place by Spanish officials hoping to confirm whether the surrealist painter fathered a child in an affair. The closed procedure extracted some hair samples, nails, teeth and two long bones from the artist’s embalmed body, the DNA of which might offer the conclusive answer to a high-profile paternity lawsuit long underway.\u003c/p>\n\u003cp>For now, that answer remains elusive — but forensic experts did uncover at least one curious fact when they pulled him briefly from his tomb at the Dalí Museum Theater in Figueres: His iconic mustache remains perfectly intact.\u003c/p>\n\u003cp>“The mustache preserved its classic 10-past-10 position,” Lluís Peñuelas, secretary-general of the Dalí Foundation, \u003ca href=\"https://elpais.com/cultura/2017/07/21/actualidad/1500616779_353229.html\" target=\"_blank\" rel=\"noopener\">told the Spanish newspaper El Pais\u003c/a>. “Checking it was a very exciting moment.”\u003c/p>\n\u003cp>The paper notes the forensic doctor who embalmed Dalí in 1989 was also on hand for Thursday’s operation, which was conducted with a pulley and concluded just hours after it began.\u003c/p>\n\u003cp>It was “a miracle,” Narcís Bardalet told a local radio station, \u003ca href=\"https://www.nytimes.com/2017/07/21/world/europe/salvador-dali-exhumed-paternity.html\" target=\"_blank\" rel=\"noopener\">according to The New York Times\u003c/a>. “Salvador Dalí is forever.”\u003c/p>\n\u003cfigure id=\"attachment_13711790\" class=\"wp-caption aligncenter\" style=\"max-width: 4753px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg\" alt=\"Tourists visit Salvador Dali's tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains\" width=\"4753\" height=\"3565\" class=\"size-full wp-image-13711790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg 4753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-520x390.jpg 520w\" sizes=\"(max-width: 4753px) 100vw, 4753px\">\u003cfigcaption class=\"wp-caption-text\">Tourists visit Salvador Dali’s tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains \u003ccite>(Lluis Gene/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He might also be a father. At least, that’s what 61-year-old tarot card reader Pilar Abel alleges, saying Dalí had an affair with her mother back in 1955 — one year before her birth.\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 first time I saw him, I was a little girl,” she told reporters three years ago, when she filed her lawsuit for partial claim to Dalí’s estate. “I was out for a walk with my grandmother, and she pointed him out.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/06/27/534516129/paternity-suit-salvador-dalis-body-ordered-exhumed\" target=\"_blank\" rel=\"noopener\">As NPR’s Lauren Frayer reported last month\u003c/a>, Dalí was married around that time — though, characteristically, that marriage was a tad unconventional.\u003c/p>\n\u003cp>“He was married at the time to his muse Gala, who lived in a castle, which he visited with written permission only,” Lauren explained. “They had no children. Without an heir, Dalí left his fortune — in the hundreds of millions — to the Spanish state when he died in 1989.”\u003c/p>\n\u003cp>Abel went public with her claim in 2007 and has sought proof since then, saying she wishes to honor her mother’s memory. And her lawyer, Enrique Blanquez, says that proof would also entitle Abel to one-fourth of the Dalí estate, \u003ca href=\"http://hosted.ap.org/dynamic/stories/E/EU_SPAIN_DALI?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT\">according to The Associated Press\u003c/a>.\u003c/p>\n\u003cp>Peñuelas and the foundation, which manages the artist’s estate, fought the exhumation order \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/26/534411874/salvador-dal-s-body-ordered-exhumed-in-paternity-suit\" target=\"_blank\" rel=\"noopener\">issued by a Madrid judge last month\u003c/a> and vow to continue the fight in court.\u003c/p>\n\u003cp>“[The Foundation] considers the exhumation performed on Salvador Dalí’s remains entirely inappropriate,” the Dalí Foundation said in a statement \u003ca href=\"https://news.artnet.com/art-world/inside-salvador-dali-overnight-exhumation-1029929\" target=\"_blank\" rel=\"noopener\">quoted by Artnet\u003c/a>.\u003c/p>\n\u003cp>“Before agreeing to such an invasive act as the exhumation of Salvador Dalí in a museum, the claimant Pilar Abel Martínez — as proposed by the Foundation and the Spanish State — should have been required to carry out a DNA test to compare her DNA with that of her legal father (deceased) or her brother, to thereby obtain all available evidence that she is not their daughter or sister.”\u003c/p>\n\u003cp>Still, Abel remains convinced the forensic experts now on the case will prove her right — after all, she says, she looks just like him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The only thing missing is the mustache,” she says. \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=Salvador+Dal%C3%AD%27s+Remains+Exhumed%2C+Revealing+A+Perfectly+Arranged+Mustache&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13711788/salvador-dalis-remains-exhumed-revealing-a-perfectly-arranged-mustache",
"authors": [
"byline_arts_13711788"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13711789",
"label": "arts_137"
},
"arts_13703773": {
"type": "posts",
"id": "arts_13703773",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13703773",
"score": null,
"sort": [
1500642021000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1500642021,
"format": "standard",
"title": "A Behind-The-Scenes Couple Get Star Treatment In 'Harold And Lillian'",
"headTitle": "A Behind-The-Scenes Couple Get Star Treatment In ‘Harold And Lillian’ | KQED",
"content": "\u003cp>What it is like to be married in Hollywood? We have a good idea about what it’s like to be \u003cem>divorced\u003c/em> in Hollywood, we’ve seen famous couples run aground by egos and scandal, and we’re well-versed in the ups-and-downs of a lifestyle where fortunes vary and relationship are jostled like luggage on a turbulent flight. The beautiful documentary \u003cem>Harold and Lillian: A Hollywood Love Story\u003c/em> celebrates a marriage and creative partnership that lasted six decades in the business, one that survived stretches of poverty and joblessness, catastrophic injury and alcoholism, and the challenges of raising an autistic son at a time when “refrigerator mothers” were blamed for the condition. Bottom line: A Hollywood marriage can be sublime and inspiring, but it’s always an adventure.\u003c/p>\n\u003cp>Though well-known and beloved by their peers, Harold and Lillian Michelson had the sorts of jobs that are often so far below the line that they’re not credited at all. As a production designer and art director, Harold would eventually earn Academy Award nominations for \u003cem>Star Trek: The Motion Picture\u003c/em> and \u003cem>Terms of Endearment\u003c/em>, but for the bulk of his career, dating back to an apprenticeship at Columbia Pictures in the late ’40s, he worked the art department as a concept illustrator and storyboard artist. Despite a passion for books and a formidable intellect — she was a spelling bee champion in her youth — Lillian stayed home and raised their three children until the early ’60s, when Harold was brought onto the lot at Samuel Goldwyn. He helped land her a volunteer position in the research library across the street, and a second career was born.\u003c/p>\n\u003cp>https://youtu.be/yA6fdelvNtw\u003c/p>\n\u003cp>Only the most hardcore cinephiles have heard of the Michelsons, but even casual viewers are familiar with their work. Harold’s talent for adjusting his storyboards for different camera lenses and telling stories shot-by-shot is readily apparent in sword-and-sandal epics like \u003cem>The Ten Commandments\u003c/em>, \u003cem>Ben Hur\u003c/em>, and \u003cem>Spartacus\u003c/em>, and he worked side-by-side with Alfred Hitchcock on \u003cem>The Birds\u003c/em> and \u003cem>Marnie\u003c/em>, two of the master’s most strikingly composed films. One of the most famous shots in cinema history — Benjamin Braddock framed by Mrs. Robinson’s leg in \u003cem>The Graduate\u003c/em> — appeared first on Harold’s sketchbook before it was immortalized on screen. He wouldn’t start collecting more prominent credits until later, when he worked in production design and/or art direction for filmmakers like Mel Brooks and Danny DeVito.\u003c/p>\n\u003cp>For her part, Lillian toiled in the research department, where she quietly unearthed the specific period details and bric-a-brac that would lend real-world authenticity to Hollywood fictions. In \u003cem>Harold and Lillian\u003c/em>, she describes the extraordinary lengths she would go to get things right, like querying old Jewish women at a deli to find out what 1890s bloomers looked like for \u003cem>Fiddler on the Roof\u003c/em> or pressing ex- (and current) drug lords and DEA agents for information relevant to \u003cem>Scarface\u003c/em>. When asked the impossible, like getting photos from inside CIA headquarters, she could deliver. She talks about research as a “time machine” that allows her to access other worlds, much as she did as a five-year-old orphan in Miami Beach.\u003c/p>\n\u003cfigure id=\"attachment_13703784\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/1-1020x1466.jpg\" alt=\"Lillian and Harold Michelson\" width=\"640\" height=\"920\" class=\"size-large wp-image-13703784\">\u003cfigcaption class=\"wp-caption-text\">Lillian and Harold Michelson \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lillian’s voice carries the documentary — Harold died in 2008, though he left a wealth of interview footage behind — and collaborators like DeVito (who also executive-produced), Brooks, and Francis Ford Coppola offer themselves as talking heads, along with other researchers, storyboard artists and technicians in the field. Harold’s extensive illustrations of their lives together — including a marvelous tradition of homemade birthday and anniversary cards, adorned by sweet poems and artwork — give \u003cem>Harold and Lillian\u003c/em> all the visual panache it needs, much like a real-life version of the side-by-side comparisons between his storyboards and a finished sequence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The stories Lillian tells are a treasure-trove of personal and professional anecdotes, doubling as a side history of Hollywood itself. But \u003cem>Harold and Lillian\u003c/em> is most affecting as a tribute to their marriage, which was full of romance and hardship and uncertainty, but built from the beginning on mutual respect and enthusiasm. “You must have shared experiences for a marriage to have some kind of soil to grow on,” she says, offering a key insight into why so many Hollywood marriages struggle to last. In a business where individual success waxes and wanes, and each new production is a job that will eventually be lost, the Michelsons rode out its crazy vicissitudes with something approaching harmony and grace. Theirs is a model few will ever get to follow.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 809,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705029991,
"excerpt": "A new documentary charts the long and loving marriage of a production designer and a film researcher; critic Scott Tobias calls it \"sublime and inspiring.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new documentary charts the long and loving marriage of a production designer and a film researcher; critic Scott Tobias calls it "sublime and inspiring."",
"title": "A Behind-The-Scenes Couple Get Star Treatment In 'Harold And Lillian' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Behind-The-Scenes Couple Get Star Treatment In 'Harold And Lillian'",
"datePublished": "2017-07-21T06:00:21-07:00",
"dateModified": "2024-01-11T19:26:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-behind-the-scenes-couple-get-star-treatment-in-harold-and-lillian",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=525056001&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 27 Apr 2017 17:00:02 -0400",
"nprLastModifiedDate": "Thu, 27 Apr 2017 17:00:02 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/04/27/525056001/a-behind-the-scenes-couple-get-star-treatment-in-harold-and-lillian?ft=nprml&f=525056001",
"nprImageAgency": "Zeitgeist Films",
"nprStoryId": "525056001",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 27 Apr 2017 17:00:00 -0400",
"path": "/arts/13703773/a-behind-the-scenes-couple-get-star-treatment-in-harold-and-lillian",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What it is like to be married in Hollywood? We have a good idea about what it’s like to be \u003cem>divorced\u003c/em> in Hollywood, we’ve seen famous couples run aground by egos and scandal, and we’re well-versed in the ups-and-downs of a lifestyle where fortunes vary and relationship are jostled like luggage on a turbulent flight. The beautiful documentary \u003cem>Harold and Lillian: A Hollywood Love Story\u003c/em> celebrates a marriage and creative partnership that lasted six decades in the business, one that survived stretches of poverty and joblessness, catastrophic injury and alcoholism, and the challenges of raising an autistic son at a time when “refrigerator mothers” were blamed for the condition. Bottom line: A Hollywood marriage can be sublime and inspiring, but it’s always an adventure.\u003c/p>\n\u003cp>Though well-known and beloved by their peers, Harold and Lillian Michelson had the sorts of jobs that are often so far below the line that they’re not credited at all. As a production designer and art director, Harold would eventually earn Academy Award nominations for \u003cem>Star Trek: The Motion Picture\u003c/em> and \u003cem>Terms of Endearment\u003c/em>, but for the bulk of his career, dating back to an apprenticeship at Columbia Pictures in the late ’40s, he worked the art department as a concept illustrator and storyboard artist. Despite a passion for books and a formidable intellect — she was a spelling bee champion in her youth — Lillian stayed home and raised their three children until the early ’60s, when Harold was brought onto the lot at Samuel Goldwyn. He helped land her a volunteer position in the research library across the street, and a second career was born.\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/yA6fdelvNtw'\n title='//www.youtube.com/embed/yA6fdelvNtw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only the most hardcore cinephiles have heard of the Michelsons, but even casual viewers are familiar with their work. Harold’s talent for adjusting his storyboards for different camera lenses and telling stories shot-by-shot is readily apparent in sword-and-sandal epics like \u003cem>The Ten Commandments\u003c/em>, \u003cem>Ben Hur\u003c/em>, and \u003cem>Spartacus\u003c/em>, and he worked side-by-side with Alfred Hitchcock on \u003cem>The Birds\u003c/em> and \u003cem>Marnie\u003c/em>, two of the master’s most strikingly composed films. One of the most famous shots in cinema history — Benjamin Braddock framed by Mrs. Robinson’s leg in \u003cem>The Graduate\u003c/em> — appeared first on Harold’s sketchbook before it was immortalized on screen. He wouldn’t start collecting more prominent credits until later, when he worked in production design and/or art direction for filmmakers like Mel Brooks and Danny DeVito.\u003c/p>\n\u003cp>For her part, Lillian toiled in the research department, where she quietly unearthed the specific period details and bric-a-brac that would lend real-world authenticity to Hollywood fictions. In \u003cem>Harold and Lillian\u003c/em>, she describes the extraordinary lengths she would go to get things right, like querying old Jewish women at a deli to find out what 1890s bloomers looked like for \u003cem>Fiddler on the Roof\u003c/em> or pressing ex- (and current) drug lords and DEA agents for information relevant to \u003cem>Scarface\u003c/em>. When asked the impossible, like getting photos from inside CIA headquarters, she could deliver. She talks about research as a “time machine” that allows her to access other worlds, much as she did as a five-year-old orphan in Miami Beach.\u003c/p>\n\u003cfigure id=\"attachment_13703784\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/1-1020x1466.jpg\" alt=\"Lillian and Harold Michelson\" width=\"640\" height=\"920\" class=\"size-large wp-image-13703784\">\u003cfigcaption class=\"wp-caption-text\">Lillian and Harold Michelson \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lillian’s voice carries the documentary — Harold died in 2008, though he left a wealth of interview footage behind — and collaborators like DeVito (who also executive-produced), Brooks, and Francis Ford Coppola offer themselves as talking heads, along with other researchers, storyboard artists and technicians in the field. Harold’s extensive illustrations of their lives together — including a marvelous tradition of homemade birthday and anniversary cards, adorned by sweet poems and artwork — give \u003cem>Harold and Lillian\u003c/em> all the visual panache it needs, much like a real-life version of the side-by-side comparisons between his storyboards and a finished sequence.\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>The stories Lillian tells are a treasure-trove of personal and professional anecdotes, doubling as a side history of Hollywood itself. But \u003cem>Harold and Lillian\u003c/em> is most affecting as a tribute to their marriage, which was full of romance and hardship and uncertainty, but built from the beginning on mutual respect and enthusiasm. “You must have shared experiences for a marriage to have some kind of soil to grow on,” she says, offering a key insight into why so many Hollywood marriages struggle to last. In a business where individual success waxes and wanes, and each new production is a job that will eventually be lost, the Michelsons rode out its crazy vicissitudes with something approaching harmony and grace. Theirs is a model few will ever get to follow.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13703773/a-behind-the-scenes-couple-get-star-treatment-in-harold-and-lillian",
"authors": [
"byline_arts_13703773"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13703775",
"label": "arts_137"
},
"arts_13703128": {
"type": "posts",
"id": "arts_13703128",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13703128",
"score": null,
"sort": [
1500581005000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1500581005,
"format": "standard",
"title": "Linkin Park Singer Chester Bennington Dead at 41",
"headTitle": "Linkin Park Singer Chester Bennington Dead at 41 | KQED",
"content": "\u003cp>Chester Bennington, one of the lead singers for the band Linkin Park and the former singer for Stone Temple Pilots, has died. His death was confirmed to NPR Thursday afternoon by the Los Angeles County Coroner’s office, which said that his body was discovered at a house within the 2800 block of Palos Verdes Estates in Los Angeles, and that investigators are currently on the scene. The death is “being looked at as a possible suicide at this time,” according to Brian Elias of the L.A. County Coroner’s office. Bennington was 41 years old.\u003c/p>\n\u003cp>Earlier this month, Linkin Park finished a European and U.K. leg of an international tour in support of its current album, \u003cem>One More Light\u003c/em>, with guest artists Machine Gun Kelly, One OK Rock and Snoop Dogg; the band’s next scheduled tour date is for July 27 in Mansfield, Mass.\u003c/p>\n\u003cp>Although the rap-rock band never gained much critical acclaim, Linkin Park was a popular staple in the early 2000s. Its debut album in 2000, \u003cem>Hybrid Theory\u003c/em>, became the best-selling rock album of that decade, and the group went on to sell more than 50 million units. At the height of its popularity, Linkin Park toured relentlessly — the band reportedly tallied \u003ca href=\"http://grantland.com/features/the-winners-history-rock-roll-part-6-linkin-park/\" target=\"_blank\" rel=\"noopener\">342\u003c/a> live shows just in the year 2001. Overall, Linkin Park scored \u003ca href=\"http://www.billboard.com/artist/307438/linkin-park/chart?sort=position&f=379\" target=\"_blank\" rel=\"noopener\">six\u003c/a> Top 20 hits on the Billboard Hot 100 chart. But Linkin Park got credibility for some collaborations with hip-hop artists, including \u003cem>Collision Course\u003c/em>, a 2004 EP the band recorded with Jay-Z.\u003c/p>\n\u003cp>In addition to his Linkin Park work, Bennington served as the lead singer of Stone Temple Pilots between 2013 and 2015.\u003c/p>\n\u003cp>Today is also the birth date of one of Bennington’s close friends, the late Soundgarden and Audioslave frontman Chris Cornell, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/18/528899410/chris-cornell-powerhouse-voice-of-soundgarden-and-audioslave-dies-at-52\" target=\"_blank\" rel=\"noopener\">committed suicide\u003c/a> in May. Cornell and Bennington were \u003ca href=\"http://www.stereogum.com/1941913/chris-cornell-remembered-by-his-friend-chester-bennington/news/\" target=\"_blank\" rel=\"noopener\">close friends\u003c/a>, and the Linkin Park singer \u003ca href=\"http://www.billboard.com/articles/columns/rock/7809573/chris-cornell-funeral-chester-bennington-tom-morello-josh-brolin\" target=\"_blank\" rel=\"noopener\">sang\u003c/a> at Cornell’s memorial service in May. \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=Linkin+Park+Singer+Chester+Bennington+Dead+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 343,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705029995,
"excerpt": "One of the lead singers of the band Linkin Park, which found great success in the early-2000s, died today in Los Angeles.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "One of the lead singers of the band Linkin Park, which found great success in the early-2000s, died today in Los Angeles.",
"title": "Linkin Park Singer Chester Bennington Dead at 41 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Linkin Park Singer Chester Bennington Dead at 41",
"datePublished": "2017-07-20T13:03:25-07:00",
"dateModified": "2024-01-11T19:26:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "linkin-park-singer-chester-bennington-dead-at-41",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=538355067&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Thu, 20 Jul 2017 15:31:00 -0400",
"nprLastModifiedDate": "Thu, 20 Jul 2017 15:56:41 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/07/20/538355067/linkin-park-singer-chester-bennington-dead-at-41?ft=nprml&f=538355067",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Jeff Hahne",
"nprStoryId": "538355067",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 20 Jul 2017 15:56:00 -0400",
"path": "/arts/13703128/linkin-park-singer-chester-bennington-dead-at-41",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chester Bennington, one of the lead singers for the band Linkin Park and the former singer for Stone Temple Pilots, has died. His death was confirmed to NPR Thursday afternoon by the Los Angeles County Coroner’s office, which said that his body was discovered at a house within the 2800 block of Palos Verdes Estates in Los Angeles, and that investigators are currently on the scene. The death is “being looked at as a possible suicide at this time,” according to Brian Elias of the L.A. County Coroner’s office. Bennington was 41 years old.\u003c/p>\n\u003cp>Earlier this month, Linkin Park finished a European and U.K. leg of an international tour in support of its current album, \u003cem>One More Light\u003c/em>, with guest artists Machine Gun Kelly, One OK Rock and Snoop Dogg; the band’s next scheduled tour date is for July 27 in Mansfield, Mass.\u003c/p>\n\u003cp>Although the rap-rock band never gained much critical acclaim, Linkin Park was a popular staple in the early 2000s. Its debut album in 2000, \u003cem>Hybrid Theory\u003c/em>, became the best-selling rock album of that decade, and the group went on to sell more than 50 million units. At the height of its popularity, Linkin Park toured relentlessly — the band reportedly tallied \u003ca href=\"http://grantland.com/features/the-winners-history-rock-roll-part-6-linkin-park/\" target=\"_blank\" rel=\"noopener\">342\u003c/a> live shows just in the year 2001. Overall, Linkin Park scored \u003ca href=\"http://www.billboard.com/artist/307438/linkin-park/chart?sort=position&f=379\" target=\"_blank\" rel=\"noopener\">six\u003c/a> Top 20 hits on the Billboard Hot 100 chart. But Linkin Park got credibility for some collaborations with hip-hop artists, including \u003cem>Collision Course\u003c/em>, a 2004 EP the band recorded with Jay-Z.\u003c/p>\n\u003cp>In addition to his Linkin Park work, Bennington served as the lead singer of Stone Temple Pilots between 2013 and 2015.\u003c/p>\n\u003cp>Today is also the birth date of one of Bennington’s close friends, the late Soundgarden and Audioslave frontman Chris Cornell, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/18/528899410/chris-cornell-powerhouse-voice-of-soundgarden-and-audioslave-dies-at-52\" target=\"_blank\" rel=\"noopener\">committed suicide\u003c/a> in May. Cornell and Bennington were \u003ca href=\"http://www.stereogum.com/1941913/chris-cornell-remembered-by-his-friend-chester-bennington/news/\" target=\"_blank\" rel=\"noopener\">close friends\u003c/a>, and the Linkin Park singer \u003ca href=\"http://www.billboard.com/articles/columns/rock/7809573/chris-cornell-funeral-chester-bennington-tom-morello-josh-brolin\" target=\"_blank\" rel=\"noopener\">sang\u003c/a> at Cornell’s memorial service in May. \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=Linkin+Park+Singer+Chester+Bennington+Dead+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13703128/linkin-park-singer-chester-bennington-dead-at-41",
"authors": [
"byline_arts_13703128"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13703131",
"label": "arts_137"
},
"arts_13697495": {
"type": "posts",
"id": "arts_13697495",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13697495",
"score": null,
"sort": [
1500577228000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1500577228,
"format": "standard",
"title": "'Hawaii Five-0' Casting Announcement Doesn't Fix CBS's Larger Diversity Problem",
"headTitle": "‘Hawaii Five-0’ Casting Announcement Doesn’t Fix CBS’s Larger Diversity Problem | KQED",
"content": "\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one’s surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show’s most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show’s white co-stars, Alex O’Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that’s kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the “racial wage gap” on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on “racism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the real problem here goes all the way back to when CBS first developed the show. And it’s not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show’s formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>“I don’t understand why we’re dealing with this issue now,” says Brenda Ching, executive director of the Hawaii chapter of the performers’ union SAG-AFTRA. “Obviously, the success of the show has been phenomenal, and everybody’s role has built the show. … Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.”\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show’s life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O’Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim’s and Park’s departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors “chose not to extend their contracts” after “getting unprecedented raises” in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they “tried very hard to keep them with offers for large and significant salary increases.” \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O’Loughlin make about $200,000 per episode, plus a small share of the show’s back-end profits; Kim was offered a salary about $5,000 short of the show’s leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, “As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,” later adding, “The path to equality is rarely easy.”\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\n\u003cp>“I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave … I support [Kim] and [Park] in their decision to stand up for what they believe is right.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s true that it isn’t unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I’ve used \u003cem>Hawaii Five-0\u003c/em> star O’Loughlin’s career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O’Loughlin ‘s first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season.\u003cstrong> \u003c/strong>CBS clearly wanted to be in the O’Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it’s tough to understand why it was so hard for CBS and the show’s producers to pay them as O’Loughlin’s equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn’t announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on. \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=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1250,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705029998,
"excerpt": "CBS announced the three new actors who will be joining the cast of its cop drama. To no one's surprise, all are nonwhite. But the network still has work to do.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "CBS announced the three new actors who will be joining the cast of its cop drama. To no one's surprise, all are nonwhite. But the network still has work to do.",
"title": "'Hawaii Five-0' Casting Announcement Doesn't Fix CBS's Larger Diversity Problem | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Hawaii Five-0' Casting Announcement Doesn't Fix CBS's Larger Diversity Problem",
"datePublished": "2017-07-20T12:00:28-07:00",
"dateModified": "2024-01-11T19:26:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hawaii-five-0-casting-announcement-doesnt-fix-cbss-larger-diversity-problem",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=536711220&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Eric Deggans",
"nprStoryDate": "Wed, 19 Jul 2017 17:39:00 -0400",
"nprLastModifiedDate": "Wed, 19 Jul 2017 18:45:36 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/07/19/536711220/-hawaii-five-0-casting-announcement-doesn-t-fix-cbs-larger-diversity-problem?ft=nprml&f=536711220",
"nprImageAgency": "CBS",
"nprImageCredit": "Kevin Lynch",
"nprStoryId": "536711220",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 19 Jul 2017 18:45:00 -0400",
"path": "/arts/13697495/hawaii-five-0-casting-announcement-doesnt-fix-cbss-larger-diversity-problem",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one’s surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show’s most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show’s white co-stars, Alex O’Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that’s kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the “racial wage gap” on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on “racism.”\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>But the real problem here goes all the way back to when CBS first developed the show. And it’s not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show’s formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>“I don’t understand why we’re dealing with this issue now,” says Brenda Ching, executive director of the Hawaii chapter of the performers’ union SAG-AFTRA. “Obviously, the success of the show has been phenomenal, and everybody’s role has built the show. … Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.”\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show’s life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O’Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim’s and Park’s departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors “chose not to extend their contracts” after “getting unprecedented raises” in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they “tried very hard to keep them with offers for large and significant salary increases.” \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O’Loughlin make about $200,000 per episode, plus a small share of the show’s back-end profits; Kim was offered a salary about $5,000 short of the show’s leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, “As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,” later adding, “The path to equality is rarely easy.”\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\n\u003cp>“I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave … I support [Kim] and [Park] in their decision to stand up for what they believe is right.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s true that it isn’t unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I’ve used \u003cem>Hawaii Five-0\u003c/em> star O’Loughlin’s career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O’Loughlin ‘s first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season.\u003cstrong> \u003c/strong>CBS clearly wanted to be in the O’Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it’s tough to understand why it was so hard for CBS and the show’s producers to pay them as O’Loughlin’s equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn’t announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\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>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on. \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=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13697495/hawaii-five-0-casting-announcement-doesnt-fix-cbss-larger-diversity-problem",
"authors": [
"byline_arts_13697495"
],
"categories": [
"arts_235",
"arts_990"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13697496",
"label": "arts_137"
},
"arts_13696247": {
"type": "posts",
"id": "arts_13696247",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13696247",
"score": null,
"sort": [
1500497801000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1500497801,
"format": "standard",
"title": "Jake Paul's Neighbors Could Try to Declare Him a Public Nuisance",
"headTitle": "Jake Paul’s Neighbors Could Try to Declare Him a Public Nuisance | KQED",
"content": "\u003cp>“It’s terrible, it’s a bad situation” — and that’s how the creator of the situation, YouTube star Jake Paul, describes what his neighbors in West Hollywood are going through because of his rowdy lifestyle and made-for-video antics.\u003c/p>\n\u003cp>Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements — and they could file a class-action lawsuit that seeks to declare Paul a public nuisance, \u003ca href=\"http://ktla.com/2017/07/17/in-west-hollywood-social-media-star-jake-pauls-antics-stir-up-the-neighborhood/\" target=\"_blank\" rel=\"noopener\">local TV station KTLA 5\u003c/a> reports.\u003c/p>\n\u003cp>“I feel bad for them, for sure,” Paul, 20, said of his neighbors when KTLA visited his street. But he added, “There’s nothing we can do, though — the Jake Paulers are the strongest army out there,” using his nickname for his millions of followers.\u003c/p>\n\u003cp>When KTLA’s Chris Wolfe told Paul that some residents said he’s turned the area into a circus, Paul replied, “Yeah, it is. I mean, but people like going to circuses, right?”\u003c/p>\n\u003cp>The situation has generated hubbub in part because of Paul’s popularity — he has more than 8.5 million followers on both YouTube and on Instagram. Working with other social media stars under the title Team 10, his videos often include pranks and antics that center around his home’s pool — from sliding things and people into it to using it as a huge fire pit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is a Team 10 house, and it is lit every single day, bro,” Paul says in one video.\u003c/p>\n\u003cp>His neighbors would like for it not to be lit so often — and not so loudly.\u003c/p>\n\u003cp>“We used to be a really nice, quiet street and now we’re just this, like, war zone,” neighbor Maytal Dahan told KTLA. “We’re families here, and we’re more than happy to have them live here if they’re respectful of their neighbors — but they’re not.”\u003c/p>\n\u003cp>Paul earns millions of dollars from his YouTube channel, according to an estimate from social media tracker \u003ca href=\"https://socialblade.com/youtube/c/jakepaulchannel\">Social Blade\u003c/a>. In addition to being an online celebrity, he is also an actor on \u003cem>Bizaardvark\u003c/em>, a Disney Channel show about … online celebrities.\u003c/p>\n\u003cp>https://twitter.com/jakepaul/status/887531517685248000\u003c/p>\n\u003cp>After local reports about the dispute on his block began to get attention far beyond California, Paul tweeted, “Lol it’s trending.” He later questioned \u003ca href=\"https://twitter.com/jakepaul/status/887531517685248000\" target=\"_blank\" rel=\"noopener\">why so many people care\u003c/a> about him “being a ‘bad’ neighbor,” particularly at a time when “innocent [people are] getting shot every day.”\u003c/p>\n\u003cp>One of the most popular responses to that tweet was a screenshot image (from \u003cem>Orange Is the New Black\u003c/em>) with a caption \u003ca href=\"https://twitter.com/forrestbIues/status/887543206505627648\" target=\"_blank\" rel=\"noopener\">that asks\u003c/a>, “Do you hear yourself sometimes? Like, when you speak?”\u003c/p>\n\u003cp>And while Paul’s fans urged him not to change, others questioned the underpinnings of his celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This entire thread illustrates the downfall of our society. I’ve never been so glad to be in my 40’s,” \u003ca href=\"https://twitter.com/LeahJen/status/887540719480590336\" target=\"_blank\" rel=\"noopener\">Jen Leah wrote\u003c/a>. \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=YouTube+Star+Jake+Paul%27s+Neighbors+Tell+Him%3A+We%27re+Not+Jake+Paulers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 544,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705030009,
"excerpt": "Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements, after a series of pranks and antics at his West Hollywood home.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements, after a series of pranks and antics at his West Hollywood home.",
"title": "Jake Paul's Neighbors Could Try to Declare Him a Public Nuisance | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jake Paul's Neighbors Could Try to Declare Him a Public Nuisance",
"datePublished": "2017-07-19T13:56:41-07:00",
"dateModified": "2024-01-11T19:26:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jake-pauls-neighbors-could-try-to-declare-him-a-public-nuisance",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=538103866&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Wed, 19 Jul 2017 12:45:00 -0400",
"nprLastModifiedDate": "Wed, 19 Jul 2017 13:10:24 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/07/19/538103866/youtube-star-jake-pauls-neighbors-tell-him-were-not-jake-paulers?ft=nprml&f=538103866",
"nprImageAgency": "Getty Images for H&M",
"nprImageCredit": "Rich Fury",
"WpOldSlug": "jake-pauls-neighbors-want-to-declare-him-a-public-nuisance",
"nprStoryId": "538103866",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 19 Jul 2017 13:10:00 -0400",
"path": "/arts/13696247/jake-pauls-neighbors-could-try-to-declare-him-a-public-nuisance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s terrible, it’s a bad situation” — and that’s how the creator of the situation, YouTube star Jake Paul, describes what his neighbors in West Hollywood are going through because of his rowdy lifestyle and made-for-video antics.\u003c/p>\n\u003cp>Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements — and they could file a class-action lawsuit that seeks to declare Paul a public nuisance, \u003ca href=\"http://ktla.com/2017/07/17/in-west-hollywood-social-media-star-jake-pauls-antics-stir-up-the-neighborhood/\" target=\"_blank\" rel=\"noopener\">local TV station KTLA 5\u003c/a> reports.\u003c/p>\n\u003cp>“I feel bad for them, for sure,” Paul, 20, said of his neighbors when KTLA visited his street. But he added, “There’s nothing we can do, though — the Jake Paulers are the strongest army out there,” using his nickname for his millions of followers.\u003c/p>\n\u003cp>When KTLA’s Chris Wolfe told Paul that some residents said he’s turned the area into a circus, Paul replied, “Yeah, it is. I mean, but people like going to circuses, right?”\u003c/p>\n\u003cp>The situation has generated hubbub in part because of Paul’s popularity — he has more than 8.5 million followers on both YouTube and on Instagram. Working with other social media stars under the title Team 10, his videos often include pranks and antics that center around his home’s pool — from sliding things and people into it to using it as a huge fire pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is a Team 10 house, and it is lit every single day, bro,” Paul says in one video.\u003c/p>\n\u003cp>His neighbors would like for it not to be lit so often — and not so loudly.\u003c/p>\n\u003cp>“We used to be a really nice, quiet street and now we’re just this, like, war zone,” neighbor Maytal Dahan told KTLA. “We’re families here, and we’re more than happy to have them live here if they’re respectful of their neighbors — but they’re not.”\u003c/p>\n\u003cp>Paul earns millions of dollars from his YouTube channel, according to an estimate from social media tracker \u003ca href=\"https://socialblade.com/youtube/c/jakepaulchannel\">Social Blade\u003c/a>. In addition to being an online celebrity, he is also an actor on \u003cem>Bizaardvark\u003c/em>, a Disney Channel show about … online celebrities.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "887531517685248000"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After local reports about the dispute on his block began to get attention far beyond California, Paul tweeted, “Lol it’s trending.” He later questioned \u003ca href=\"https://twitter.com/jakepaul/status/887531517685248000\" target=\"_blank\" rel=\"noopener\">why so many people care\u003c/a> about him “being a ‘bad’ neighbor,” particularly at a time when “innocent [people are] getting shot every day.”\u003c/p>\n\u003cp>One of the most popular responses to that tweet was a screenshot image (from \u003cem>Orange Is the New Black\u003c/em>) with a caption \u003ca href=\"https://twitter.com/forrestbIues/status/887543206505627648\" target=\"_blank\" rel=\"noopener\">that asks\u003c/a>, “Do you hear yourself sometimes? Like, when you speak?”\u003c/p>\n\u003cp>And while Paul’s fans urged him not to change, others questioned the underpinnings of his celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This entire thread illustrates the downfall of our society. I’ve never been so glad to be in my 40’s,” \u003ca href=\"https://twitter.com/LeahJen/status/887540719480590336\" target=\"_blank\" rel=\"noopener\">Jen Leah wrote\u003c/a>. \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=YouTube+Star+Jake+Paul%27s+Neighbors+Tell+Him%3A+We%27re+Not+Jake+Paulers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13696247/jake-pauls-neighbors-could-try-to-declare-him-a-public-nuisance",
"authors": [
"byline_arts_13696247"
],
"categories": [
"arts_235",
"arts_75",
"arts_990"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13696248",
"label": "arts_137"
},
"arts_13689227": {
"type": "posts",
"id": "arts_13689227",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13689227",
"score": null,
"sort": [
1500490841000
]
},
"guestAuthors": [],
"slug": "tight-on-wall-space-sfmoma-will-text-its-art-to-you-instead",
"title": "Tight on Wall Space, SFMOMA Will Text Its Art to You Instead",
"publishDate": 1500490841,
"format": "standard",
"headTitle": "Tight on Wall Space, SFMOMA Will Text Its Art to You Instead | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The San Francisco Museum of Modern Art has some 34,000 works in its collection — but you’ll only find a fraction of those up on the wall.\u003c/p>\n\u003cp>“A little under 2,000 of them are on view at any one time in the galleries,” says Keir Winesmith, head of SFMOMA’s Web and digital platforms.\u003c/p>\n\u003cp>So what to do with the rest?\u003c/p>\n\u003cp>SFMOMA is trying a different approach to show off its holdings: Send an emoji or describe a mood via text and the museum \u003ca href=\"https://www.sfmoma.org/read/send-me-sfmoma/\" target=\"_blank\" rel=\"noopener\">will shoot back a picture of one of its artworks.\u003c/a> You can see how it works in the video below:\u003c/p>\n\u003cp>“We’ve now sent 2 million text messages in five days,” Winesmith says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most people search for love or happiness, or send an emoji of flowers, dogs or cats. There are also some more esoteric searches, Winesmith says — the ocean, or food, or music, or the names of favorite places.\u003c/p>\n\u003cp>Texters have started contacting the museum to learn more about the art they received on their phones — that “blows my mind,” Winesmith says. He suspects this diversion may be particularly popular right now because it gives people chance to cleanse their mental palate.\u003c/p>\n\u003cp>“A lot of what I read from the news media is pretty negative, and sometimes a little depressing,” he says. “We’re able to create something that is \u003cem>not\u003c/em> that, is a balance. Not quite an antidote, but certainly a balance to what’s happening out there in the news media world.”\u003c/p>\n\u003cp>So if the news on \u003cem>Morning Edition\u003c/em> has got you down today, text 572-51 with the phrase “send me” and then a word or emoji. SFMOMA will send back an image — and perhaps a moment of zen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>David Blanchard and Graham Smith produced the audio of this story. Beth Novey adapted it for the Web.\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=Tight+On+Wall+Space%2C+SFMOMA+Will+Text+Its+Art+To+You+Instead&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The San Francisco Museum of Modern Art can only display a fraction of its collection at any given time. Now, you can text a word or emoji and the museum will send back a corresponding work of art.",
"status": "publish",
"parent": 0,
"modified": 1726701704,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 341
},
"headData": {
"title": "Tight on Wall Space, SFMOMA Will Text Its Art to You Instead | KQED",
"description": "The San Francisco Museum of Modern Art can only display a fraction of its collection at any given time. Now, you can text a word or emoji and the museum will send back a corresponding work of art.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tight on Wall Space, SFMOMA Will Text Its Art to You Instead",
"datePublished": "2017-07-19T12:00:41-07:00",
"dateModified": "2024-09-18T16:21:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Josh Edelson",
"nprByline": "David Greene",
"nprImageAgency": "AFP/Getty Images",
"nprStoryId": "537737939",
"nprApiLink": "http://api.npr.org/query?id=537737939&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/alltechconsidered/2017/07/18/537737939/tight-on-wall-space-sfmoma-will-text-its-art-to-you-instead?ft=nprml&f=537737939",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 18 Jul 2017 11:25:00 -0400",
"nprStoryDate": "Tue, 18 Jul 2017 11:25:00 -0400",
"nprLastModifiedDate": "Tue, 18 Jul 2017 11:25:33 -0400",
"path": "/arts/13689227/tight-on-wall-space-sfmoma-will-text-its-art-to-you-instead",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art has some 34,000 works in its collection — but you’ll only find a fraction of those up on the wall.\u003c/p>\n\u003cp>“A little under 2,000 of them are on view at any one time in the galleries,” says Keir Winesmith, head of SFMOMA’s Web and digital platforms.\u003c/p>\n\u003cp>So what to do with the rest?\u003c/p>\n\u003cp>SFMOMA is trying a different approach to show off its holdings: Send an emoji or describe a mood via text and the museum \u003ca href=\"https://www.sfmoma.org/read/send-me-sfmoma/\" target=\"_blank\" rel=\"noopener\">will shoot back a picture of one of its artworks.\u003c/a> You can see how it works in the video below:\u003c/p>\n\u003cp>“We’ve now sent 2 million text messages in five days,” Winesmith says.\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>Most people search for love or happiness, or send an emoji of flowers, dogs or cats. There are also some more esoteric searches, Winesmith says — the ocean, or food, or music, or the names of favorite places.\u003c/p>\n\u003cp>Texters have started contacting the museum to learn more about the art they received on their phones — that “blows my mind,” Winesmith says. He suspects this diversion may be particularly popular right now because it gives people chance to cleanse their mental palate.\u003c/p>\n\u003cp>“A lot of what I read from the news media is pretty negative, and sometimes a little depressing,” he says. “We’re able to create something that is \u003cem>not\u003c/em> that, is a balance. Not quite an antidote, but certainly a balance to what’s happening out there in the news media world.”\u003c/p>\n\u003cp>So if the news on \u003cem>Morning Edition\u003c/em> has got you down today, text 572-51 with the phrase “send me” and then a word or emoji. SFMOMA will send back an image — and perhaps a moment of zen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>David Blanchard and Graham Smith produced the audio of this story. Beth Novey adapted it for the Web.\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=Tight+On+Wall+Space%2C+SFMOMA+Will+Text+Its+Art+To+You+Instead&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13689227/tight-on-wall-space-sfmoma-will-text-its-art-to-you-instead",
"authors": [
"byline_arts_13689227"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13689228",
"label": "arts_137"
},
"arts_13683597": {
"type": "posts",
"id": "arts_13683597",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13683597",
"score": null,
"sort": [
1500415214000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1500415214,
"format": "standard",
"title": "300 Years of Handel's 'Water Music,' with a Splash of Politics",
"headTitle": "300 Years of Handel’s ‘Water Music,’ with a Splash of Politics | KQED",
"content": "\u003cp>So what do you do if you’re a recently crowned Head of State and you’re already facing opposition—even from within your own family? One answer is optics. Make a big, public splash; throw a lavish party with A-list musical entertainment. That’s just what happened in London – 300 years ago today.\u003c/p>\n\u003cp>In July, 1717, King George I of England was feeling heat from an opposing political faction gathering around his son, the Prince of Wales. The King must have thought: “How can I turn the spotlight back on \u003cem>me\u003c/em>?” What about a boating party along the Thames? With an orchestra!\u003c/p>\n\u003cp>The King’s boating blowout gave birth to a smash hit – \u003cem>Water Music\u003c/em>, composed by \u003ca href=\"http://www.npr.org/artists/15509811/george-frideric-handel\" target=\"_blank\" rel=\"noopener\">George Frideric Handel\u003c/a> for his majesty’s royal ride up the Thames.\u003c/p>\n\u003cp>“This was a new thing,” says conductor \u003ca href=\"http://www.npr.org/artists/103057885/nicholas-mcgegan\" target=\"_blank\" rel=\"noopener\">Nicholas McGegan\u003c/a>, “to have quite such elegant and organized music in a barge towing behind the royal one, where the King sat with his two mistresses and watched the world go by.”\u003c/p>\n\u003cp>McGegan is marking the 300th anniversary of \u003cem>Water Music\u003c/em> by conducting the piece at a dry dock in Hull, England later this week. The political intrigue behind the music is no surprise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The tradition in the Georgian household was to hate your children,” McGegan notes. “And that happened over generation over generation. So it was a big publicity deal for [King George] and another way of making his son look bad.”\u003c/p>\n\u003cp>The King got the publicity he wanted. Two days later, a London newspaper crowed:\u003c/p>\n\u003cblockquote>\n\u003cp>On Wednesday evening, at about 8, the King took Water at Whitehall in an open barge … wherein were 50 instruments\u003cstrong> \u003c/strong>of all sorts, who play’d … the finest Symphonies compos’d express for the Occasion by Mr. Hendel, which his Majesty liked so well, that he caus’d it to be plaid over three times in going and returning.\u003c/p>\n\u003c/blockquote>\n\u003cp>A few of those “50 instruments” were brand new to the Brits – like French horns.\u003c/p>\n\u003cp>“The audience would, I think, say, ‘What was that funny instrument we heard? Hunting horns, but not ones that play tunes,'” McGegan says. “The horn players had to come from Bohemia, which was sort of the central place for all horn players. I guess the beer is really good.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UcknsYVgdkM\u003c/p>\n\u003cp>Handel’s hour-long \u003cem>Water Music\u003c/em> comes in three suites of tunes – an ingenious blend of popular styles of the day.\u003c/p>\n\u003cp>“Handel is definitely the non-Brexit composer,” McGegan says. “He takes stuff from France, Germany, Italy and mixes it all up. It’s very much pan-European music, if you like.”\u003c/p>\n\u003cp>Living in London, Handel was smart enough to know he also had to throw something very English into the mix. He came up with the “Alla Hornpipe,” a variation on a dance that became \u003cem>Water Music\u003c/em>‘s signature tune.\u003c/p>\n\u003cp>“The hornpipe is an English dance particularly associated with sailors,” McGegan says, “and involves a lot of jumping up and down, and being a bit of a peacock as a dancer, to show off to the molls on the shore.”\u003c/p>\n\u003cp>Londoners lined the banks of the Thames and squeezed boats into the river to hear the music and catch a glimpse of the Royals. It was a spectacle the likes of which they’d never seen. It was also a public relations coup for King George. But would such an obvious diversion work for politicians today?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it happens all the time doesn’t it?” McGegan says, with a chuckle. “Of course they wouldn’t ask a fabulous composer like John Adams to write them some wonderful music. They’d probably get in some rather trashy rock band.” \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=300+Years+Of+Handel%27s+%27Water+Music%27%2C+With+A+Splash+Of+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 681,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705030018,
"excerpt": "300 years ago, England's embattled King George I decided to divert public attention from the country's woes with a big musical party on the River Thames.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "300 years ago, England's embattled King George I decided to divert public attention from the country's woes with a big musical party on the River Thames.",
"title": "300 Years of Handel's 'Water Music,' with a Splash of Politics | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "300 Years of Handel's 'Water Music,' with a Splash of Politics",
"datePublished": "2017-07-18T15:00:14-07:00",
"dateModified": "2024-01-11T19:26:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "300-years-of-handels-water-music-with-a-splash-of-politics",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=536493418&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 17 Jul 2017 16:28:00 -0400",
"nprLastModifiedDate": "Mon, 17 Jul 2017 18:58:59 -0400",
"nprHtmlLink": "http://www.npr.org/sections/deceptivecadence/2017/07/17/536493418/300-years-of-handels-water-music-with-a-splash-of-politics?ft=nprml&f=536493418",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/07/20170717_atc_300_years_of_handels_water_music_with_a_splash_of_politics.mp3?orgId=1&topicId=1039&d=246&p=2&story=536493418&t=progseg&e=537657366&seg=10&ft=nprml&f=536493418",
"nprImageAgency": "Bettmann Archive",
"nprAudioM3u": "http://api.npr.org/m3u/1537754634-de0a34.m3u?orgId=1&topicId=1039&d=246&p=2&story=536493418&t=progseg&e=537657366&seg=10&ft=nprml&f=536493418",
"nprStoryId": "536493418",
"nprByline": "Tom Huizenga",
"sticky": false,
"nprImageCredit": "Getty",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 17 Jul 2017 19:30:00 -0400",
"path": "/arts/13683597/300-years-of-handels-water-music-with-a-splash-of-politics",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/07/20170717_atc_300_years_of_handels_water_music_with_a_splash_of_politics.mp3?orgId=1&topicId=1039&d=246&p=2&story=536493418&t=progseg&e=537657366&seg=10&ft=nprml&f=536493418",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So what do you do if you’re a recently crowned Head of State and you’re already facing opposition—even from within your own family? One answer is optics. Make a big, public splash; throw a lavish party with A-list musical entertainment. That’s just what happened in London – 300 years ago today.\u003c/p>\n\u003cp>In July, 1717, King George I of England was feeling heat from an opposing political faction gathering around his son, the Prince of Wales. The King must have thought: “How can I turn the spotlight back on \u003cem>me\u003c/em>?” What about a boating party along the Thames? With an orchestra!\u003c/p>\n\u003cp>The King’s boating blowout gave birth to a smash hit – \u003cem>Water Music\u003c/em>, composed by \u003ca href=\"http://www.npr.org/artists/15509811/george-frideric-handel\" target=\"_blank\" rel=\"noopener\">George Frideric Handel\u003c/a> for his majesty’s royal ride up the Thames.\u003c/p>\n\u003cp>“This was a new thing,” says conductor \u003ca href=\"http://www.npr.org/artists/103057885/nicholas-mcgegan\" target=\"_blank\" rel=\"noopener\">Nicholas McGegan\u003c/a>, “to have quite such elegant and organized music in a barge towing behind the royal one, where the King sat with his two mistresses and watched the world go by.”\u003c/p>\n\u003cp>McGegan is marking the 300th anniversary of \u003cem>Water Music\u003c/em> by conducting the piece at a dry dock in Hull, England later this week. The political intrigue behind the music is no surprise.\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 tradition in the Georgian household was to hate your children,” McGegan notes. “And that happened over generation over generation. So it was a big publicity deal for [King George] and another way of making his son look bad.”\u003c/p>\n\u003cp>The King got the publicity he wanted. Two days later, a London newspaper crowed:\u003c/p>\n\u003cblockquote>\n\u003cp>On Wednesday evening, at about 8, the King took Water at Whitehall in an open barge … wherein were 50 instruments\u003cstrong> \u003c/strong>of all sorts, who play’d … the finest Symphonies compos’d express for the Occasion by Mr. Hendel, which his Majesty liked so well, that he caus’d it to be plaid over three times in going and returning.\u003c/p>\n\u003c/blockquote>\n\u003cp>A few of those “50 instruments” were brand new to the Brits – like French horns.\u003c/p>\n\u003cp>“The audience would, I think, say, ‘What was that funny instrument we heard? Hunting horns, but not ones that play tunes,'” McGegan says. “The horn players had to come from Bohemia, which was sort of the central place for all horn players. I guess the beer is really good.”\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/UcknsYVgdkM'\n title='//www.youtube.com/embed/UcknsYVgdkM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Handel’s hour-long \u003cem>Water Music\u003c/em> comes in three suites of tunes – an ingenious blend of popular styles of the day.\u003c/p>\n\u003cp>“Handel is definitely the non-Brexit composer,” McGegan says. “He takes stuff from France, Germany, Italy and mixes it all up. It’s very much pan-European music, if you like.”\u003c/p>\n\u003cp>Living in London, Handel was smart enough to know he also had to throw something very English into the mix. He came up with the “Alla Hornpipe,” a variation on a dance that became \u003cem>Water Music\u003c/em>‘s signature tune.\u003c/p>\n\u003cp>“The hornpipe is an English dance particularly associated with sailors,” McGegan says, “and involves a lot of jumping up and down, and being a bit of a peacock as a dancer, to show off to the molls on the shore.”\u003c/p>\n\u003cp>Londoners lined the banks of the Thames and squeezed boats into the river to hear the music and catch a glimpse of the Royals. It was a spectacle the likes of which they’d never seen. It was also a public relations coup for King George. But would such an obvious diversion work for politicians today?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it happens all the time doesn’t it?” McGegan says, with a chuckle. “Of course they wouldn’t ask a fabulous composer like John Adams to write them some wonderful music. They’d probably get in some rather trashy rock band.” \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=300+Years+Of+Handel%27s+%27Water+Music%27%2C+With+A+Splash+Of+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13683597/300-years-of-handels-water-music-with-a-splash-of-politics",
"authors": [
"byline_arts_13683597"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13683598",
"label": "arts_137"
},
"arts_13683593": {
"type": "posts",
"id": "arts_13683593",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13683593",
"score": null,
"sort": [
1500404441000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1500404441,
"format": "standard",
"title": "#EbonyOwes: 99 Problems and Money is One",
"headTitle": "#EbonyOwes: 99 Problems and Money is One | KQED",
"content": "\u003cp>\u003cem>Ebony\u003c/em> magazine has been the magazine of black America since it was first published in November 1945. Its stories of success and achievement were a welcome antidote to how its readers normally saw themselves portrayed in mainstream newspapers and magazines. (If they were featured at all, it was usually for something that reinforced the mainstream stereotype of who and what black Americans were.) \u003cem>\u003c/em>Until a decade ago\u003cem>, \u003c/em>\u003cem>Ebony\u003c/em> regularly sold out on newsstands and had a large and loyal subscriber base.\u003c/p>\n\u003cp>So when Los Angeles writer Liz Dwyer was asked to write three articles for the February 2017 issue, which looked at how African-Americans might fare under new President Donald Trump, she was thrilled to say yes.\u003c/p>\n\u003cp>“\u003cem>Ebony\u003c/em> is one of those historical publications that you grew up seeing on your grandma’s coffee table or your parents’ coffee table,” Dwyer says. “For me, growing up, it was one of the only places that I regularly saw myself or my parents reflected in it. Where I saw women who looked like my mom. Where I saw hair care products that worked in my hair.”\u003c/p>\n\u003cp>She wrote the articles in the fall of 2016 and assumed she would be paid upon publication. February came and went, and Dwyer saw no check. She wasn’t the only one. Several other writers, photographers, illustrators and editors were also waiting to be paid.\u003c/p>\n\u003cp>There were indications of financial trouble earlier. Facing an aging, dwindling subscriber base and overall shrinkage of the publishing industry, \u003cem>Ebony\u003c/em>‘s parent company, Johnson Publishing Inc., sold its showcase corporate headquarters in the Chicago Loop in 2010. The flagship magazine went up for sale last year. Michael Gibson and Willard Jackson, African-American private equity owners of Clear View Group, bought the magazine and its sister publication, \u003cem>Jet,\u003c/em> with plans to revive and expand a treasured cultural legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Apparently those plans didn’t include paying \u003cem>Ebony\u003c/em>‘s writers in a timely manner. When asked, the writers were given a statement that said, “[As] part of our strategic growth plan, EBONY Media is working diligently to streamline and improve efficiencies throughout our operations and we will honor our commitment to our partners.”\u003c/p>\n\u003cp>For many of \u003cem>Ebony\u003c/em>‘s writers, its place in publishing history is important. Adrienne Samuels Gibbs left the \u003cem>Boston Globe\u003c/em> to return to her hometown to work for \u003cem>Ebony\u003c/em>. She was a senior staff writer and later left to freelance. She oversaw three special issues, including the commemorative issue that looked at Barack Obama’s presidency. When she heard several of the writers she had commissioned for the work were going unpaid, she tried to rectify it.\u003c/p>\n\u003cp>“Lots of us reached out to CVG to request payment. We started with accounts payable at \u003cem>Ebony,\u003c/em> and then when we got no response after weeks and weeks, we reached out to the two owners of Clear View Group, and also to Linda Johnson Rice, whose family has owned \u003cem>Ebony\u003c/em> since the beginning,” Gibbs said.\u003c/p>\n\u003cp>The response? Nada.\u003c/p>\n\u003cp>(Which is consistent with NPR’s experience: Calls to Clear View Group’s owners, via Facebook and Twitter, for comment went unacknowledged.)\u003c/p>\n\u003cp>What Gibbs \u003cem>did\u003c/em> get was an irritated tweet from CVG co-owner Jackson, accusing her of doing a takedown job on a beloved black publication.\u003c/p>\n\u003cp>“We love \u003cem>Ebony\u003c/em>,” Gibbs insists. “No one is trying to tear down a black institution that means the world to black Americans and the larger citizenship of the diaspora. But you still have to pay what you owe.”\u003c/p>\n\u003cp>Soon after, several writers began a social media campaign, #EbonyOwes, to try to leverage payment. CVG’s owners blocked their accounts to some, but #EbonyOwes picked up steam anyway.\u003c/p>\n\u003cp>Then more than two dozen writers asked the National Writers Union for help. Union President Larry Goldbetter said unfortunately, nonpayment of writers isn’t just an \u003cem>Ebony\u003c/em> problem. “Nonpayment to freelancers is so common — it’s a plague, an epidemic,” he says.\u003c/p>\n\u003cp>The #EbonyOwes writers weren’t so different in that respect, but they were in another way: “What’s unique here is the 30 writers at \u003cem>Ebony\u003c/em> have stood together,” Goldbetter says, “and that has made a difference.”\u003c/p>\n\u003cp>It’s also attracted some attention “from other writers from other publications,” the union president says. “And we are getting more names, and we intend to have a few more campaigns going in the future.”\u003c/p>\n\u003cp>This month, some writers began to receive partial payment for their published work. Three people, including Dwyer, were finally paid in full. Dwyer says even though she has been paid, she will continue to work to see that her colleagues are, too.\u003c/p>\n\u003cp>“What is really tough about it is knowing that there are so many freelancers that are in this position where they are really counting on this money to pay their bills. But even if all they wanted to do was set that money on fire, they did that work, and it’s owed to them,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last week, the National Writers Union announced plans to sue \u003cem>Ebony\u003c/em> and CVG to recover the full amount owed to \u003cem>Ebony\u003c/em> contributors who have not yet been made whole. \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=%23EbonyOwes%3A+99+Problems+And+Money+Is+One&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 908,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705030020,
"excerpt": "A number of writers, editors, photographers and illustrators are still waiting to be paid by the magazine for work that was published in February. The owners say they will \"honor [their] commitment.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A number of writers, editors, photographers and illustrators are still waiting to be paid by the magazine for work that was published in February. The owners say they will "honor commitment."",
"title": "#EbonyOwes: 99 Problems and Money is One | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "#EbonyOwes: 99 Problems and Money is One",
"datePublished": "2017-07-18T12:00:41-07:00",
"dateModified": "2024-01-11T19:27:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ebonyowes-99-problems-and-money-is-one",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=537060492&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 17 Jul 2017 20:17:24 -0400",
"nprLastModifiedDate": "Mon, 17 Jul 2017 20:17:24 -0400",
"nprHtmlLink": "http://www.npr.org/sections/codeswitch/2017/07/17/537060492/-ebonyowes-99-problems-and-money-is-one?ft=nprml&f=537060492",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/07/20170717_atc_writers_launch_ebonyowes_twitter_campaign_in_demand_for_back_pay.mp3?orgId=1&topicId=1015&d=234&story=537060492&ft=nprml&f=537060492",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1537770535-460fa5.m3u?orgId=1&topicId=1015&d=234&story=537060492&ft=nprml&f=537060492",
"nprStoryId": "537060492",
"nprByline": "Karen Grigsby Bates",
"sticky": false,
"nprImageCredit": "Earl Gibson III",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 17 Jul 2017 20:17:00 -0400",
"path": "/arts/13683593/ebonyowes-99-problems-and-money-is-one",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/07/20170717_atc_writers_launch_ebonyowes_twitter_campaign_in_demand_for_back_pay.mp3?orgId=1&topicId=1015&d=234&story=537060492&ft=nprml&f=537060492",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ebony\u003c/em> magazine has been the magazine of black America since it was first published in November 1945. Its stories of success and achievement were a welcome antidote to how its readers normally saw themselves portrayed in mainstream newspapers and magazines. (If they were featured at all, it was usually for something that reinforced the mainstream stereotype of who and what black Americans were.) \u003cem>\u003c/em>Until a decade ago\u003cem>, \u003c/em>\u003cem>Ebony\u003c/em> regularly sold out on newsstands and had a large and loyal subscriber base.\u003c/p>\n\u003cp>So when Los Angeles writer Liz Dwyer was asked to write three articles for the February 2017 issue, which looked at how African-Americans might fare under new President Donald Trump, she was thrilled to say yes.\u003c/p>\n\u003cp>“\u003cem>Ebony\u003c/em> is one of those historical publications that you grew up seeing on your grandma’s coffee table or your parents’ coffee table,” Dwyer says. “For me, growing up, it was one of the only places that I regularly saw myself or my parents reflected in it. Where I saw women who looked like my mom. Where I saw hair care products that worked in my hair.”\u003c/p>\n\u003cp>She wrote the articles in the fall of 2016 and assumed she would be paid upon publication. February came and went, and Dwyer saw no check. She wasn’t the only one. Several other writers, photographers, illustrators and editors were also waiting to be paid.\u003c/p>\n\u003cp>There were indications of financial trouble earlier. Facing an aging, dwindling subscriber base and overall shrinkage of the publishing industry, \u003cem>Ebony\u003c/em>‘s parent company, Johnson Publishing Inc., sold its showcase corporate headquarters in the Chicago Loop in 2010. The flagship magazine went up for sale last year. Michael Gibson and Willard Jackson, African-American private equity owners of Clear View Group, bought the magazine and its sister publication, \u003cem>Jet,\u003c/em> with plans to revive and expand a treasured cultural legacy.\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>Apparently those plans didn’t include paying \u003cem>Ebony\u003c/em>‘s writers in a timely manner. When asked, the writers were given a statement that said, “[As] part of our strategic growth plan, EBONY Media is working diligently to streamline and improve efficiencies throughout our operations and we will honor our commitment to our partners.”\u003c/p>\n\u003cp>For many of \u003cem>Ebony\u003c/em>‘s writers, its place in publishing history is important. Adrienne Samuels Gibbs left the \u003cem>Boston Globe\u003c/em> to return to her hometown to work for \u003cem>Ebony\u003c/em>. She was a senior staff writer and later left to freelance. She oversaw three special issues, including the commemorative issue that looked at Barack Obama’s presidency. When she heard several of the writers she had commissioned for the work were going unpaid, she tried to rectify it.\u003c/p>\n\u003cp>“Lots of us reached out to CVG to request payment. We started with accounts payable at \u003cem>Ebony,\u003c/em> and then when we got no response after weeks and weeks, we reached out to the two owners of Clear View Group, and also to Linda Johnson Rice, whose family has owned \u003cem>Ebony\u003c/em> since the beginning,” Gibbs said.\u003c/p>\n\u003cp>The response? Nada.\u003c/p>\n\u003cp>(Which is consistent with NPR’s experience: Calls to Clear View Group’s owners, via Facebook and Twitter, for comment went unacknowledged.)\u003c/p>\n\u003cp>What Gibbs \u003cem>did\u003c/em> get was an irritated tweet from CVG co-owner Jackson, accusing her of doing a takedown job on a beloved black publication.\u003c/p>\n\u003cp>“We love \u003cem>Ebony\u003c/em>,” Gibbs insists. “No one is trying to tear down a black institution that means the world to black Americans and the larger citizenship of the diaspora. But you still have to pay what you owe.”\u003c/p>\n\u003cp>Soon after, several writers began a social media campaign, #EbonyOwes, to try to leverage payment. CVG’s owners blocked their accounts to some, but #EbonyOwes picked up steam anyway.\u003c/p>\n\u003cp>Then more than two dozen writers asked the National Writers Union for help. Union President Larry Goldbetter said unfortunately, nonpayment of writers isn’t just an \u003cem>Ebony\u003c/em> problem. “Nonpayment to freelancers is so common — it’s a plague, an epidemic,” he says.\u003c/p>\n\u003cp>The #EbonyOwes writers weren’t so different in that respect, but they were in another way: “What’s unique here is the 30 writers at \u003cem>Ebony\u003c/em> have stood together,” Goldbetter says, “and that has made a difference.”\u003c/p>\n\u003cp>It’s also attracted some attention “from other writers from other publications,” the union president says. “And we are getting more names, and we intend to have a few more campaigns going in the future.”\u003c/p>\n\u003cp>This month, some writers began to receive partial payment for their published work. Three people, including Dwyer, were finally paid in full. Dwyer says even though she has been paid, she will continue to work to see that her colleagues are, too.\u003c/p>\n\u003cp>“What is really tough about it is knowing that there are so many freelancers that are in this position where they are really counting on this money to pay their bills. But even if all they wanted to do was set that money on fire, they did that work, and it’s owed to them,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last week, the National Writers Union announced plans to sue \u003cem>Ebony\u003c/em> and CVG to recover the full amount owed to \u003cem>Ebony\u003c/em> contributors who have not yet been made whole. \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=%23EbonyOwes%3A+99+Problems+And+Money+Is+One&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13683593/ebonyowes-99-problems-and-money-is-one",
"authors": [
"byline_arts_13683593"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13685280",
"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": 1884,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13755414",
"arts_13741633",
"arts_13740500",
"arts_13740275",
"arts_13711788",
"arts_13703773",
"arts_13703128",
"arts_13697495",
"arts_13696247",
"arts_13689227",
"arts_13683597",
"arts_13683593"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_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_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_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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_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_4358": {
"type": "terms",
"id": "arts_4358",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4358",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TGAR news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TGAR news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4370,
"slug": "tgar-news",
"isLoading": false,
"link": "/arts/tag/tgar-news"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_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_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_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"
}
},
"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
}
}
