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_12904680": {
"type": "attachments",
"id": "arts_12904680",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12904680",
"found": true
},
"parent": 12904678,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-375x210.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 210
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney.jpg",
"width": 800,
"height": 449
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Paul-McCartney-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1489611499,
"modified": 1489611520,
"caption": "Paul McCartney during Paris Fashion Week, 2016.",
"description": "Paul McCartney during Paris Fashion Week, 2016.",
"title": "Paul McCartney",
"credit": "Photo: Zak Hussein/Corbis via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11683550": {
"type": "attachments",
"id": "arts_11683550",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11683550",
"found": true
},
"parent": 11683547,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1465861103,
"modified": 1528913168,
"caption": "Christopher Jackson, Lin-Manuel Miranda, Anthony Ramos, Daveed Diggs, and the company of 'Hamilton' perform onstage during the 70th Annual Tony Awards.",
"description": "Christopher Jackson, Lin-Manuel Miranda, Anthony Ramos, Daveed Diggs, and the company of \u003cem>Hamilton\u003c/em> perform onstage during the 70th Annual Tony Awards.",
"title": "Christopher Jackson, Lin-Manuel Miranda, Anthony Ramos, Daveed Diggs, and the company of Hamilton perform onstage during the 70th Annual Tony Awards.",
"credit": "Theo Wargo/Getty Images for Tony Awards Productions",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12899706": {
"type": "attachments",
"id": "arts_12899706",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12899706",
"found": true
},
"parent": 12899705,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-131201756-af54d810dec2e259ff1995413c8850d59e4286a3-e1489522100635-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1489519890,
"modified": 1489522043,
"caption": "Producer and label executive Tommy LiPuma, shot in New York City in 2011. LiPuma died Monday at age 80",
"description": "Producer and label executive Tommy LiPuma, shot in New York City in 2011. LiPuma died Monday at age 80",
"title": "Producer and label executive Tommy LiPuma, shot in New York City in 2011. LiPuma died Monday at age 80.",
"credit": "Photo: Stephen Lovekin/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12894894": {
"type": "attachments",
"id": "arts_12894894",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12894894",
"found": true
},
"parent": 12894893,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-902x576.jpg",
"width": 902,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718.jpg",
"width": 902,
"height": 507
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-465228460-8a6477c970b1c9aa6f5bf5f2ba7a2524ee21f678-e1489435571718-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1489435061,
"modified": 1489435451,
"caption": "A U.S. Customs and Border Protection (CBP) officer's patch, photographed in Miami in March 2015. CBP officials denied entry to the Italian band Soviet Soviet last week and deported its members.",
"description": "A U.S. Customs and Border Protection (CBP) officer's patch, photographed in Miami in March 2015. CBP officials denied entry to the Italian band Soviet Soviet last week and deported its members.",
"title": "A U.S. Customs and Border Protection (CBP) officer's patch, photographed in Miami in March 2015. CBP officials denied entry to the Italian band Soviet Soviet last week and deported its members.",
"credit": "Photo: Joe Raedle/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12881134": {
"type": "attachments",
"id": "arts_12881134",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12881134",
"found": true
},
"parent": 12881133,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448.jpg",
"width": 1065,
"height": 599
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/soviet_soviet-c654d4039f08d0b151be84e04cb630dd76060c90-e1489186335448-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1489186115,
"modified": 1489186568,
"caption": "The band Soviet Soviet.",
"description": "The band Soviet Soviet.",
"title": "The band Soviet Soviet.",
"credit": "Photo: Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12875330": {
"type": "attachments",
"id": "arts_12875330",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12875330",
"found": true
},
"parent": 12875326,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Dave-Valentin-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1489085997,
"modified": 1489086126,
"caption": "Dave Valentin performs on flute at the 'All-Star Latin Jazz Tribute to Tito Puente' in 2005.",
"description": "Dave Valentin performs on flute at the 'All-Star Latin Jazz Tribute to Tito Puente' in 2005.",
"title": "Dave Valentin",
"credit": "Photo: Jack Vartoogian/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12870538": {
"type": "attachments",
"id": "arts_12870538",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12870538",
"found": true
},
"parent": 12870537,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-177225601_wide-ac50dc785bec69f856f26e3d6a554a426d49702f-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1489003792,
"modified": 1489004215,
"caption": "Actor Bruce Lee with producer Fred Weintraub, on the set 'Enter the Dragon' in 1973.",
"description": "Actor Bruce Lee with producer Fred Weintraub, on the set 'Enter the Dragon' in 1973.",
"title": "Actor Bruce Lee with producer Fred Weintraub, on the set Enter the Dragon in 1973.",
"credit": "Photo: Stanley Bielecki Movie Collection/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12864701": {
"type": "attachments",
"id": "arts_12864701",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12864701",
"found": true
},
"parent": 12864700,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf.jpg",
"width": 900,
"height": 506
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/nate-smith-2_photo-credit-laura-hanifin_wide-ffdfbb47803b1f00543966bd0d4155c6f2dc4baf-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1488903603,
"modified": 1488903775,
"caption": "Nate Smith's debut solo album is 'Kinfolk: Postcards From Everywhere'.",
"description": " 'Nate Smith's debut solo album is 'Kinfolk: Postcards From Everywhere'.",
"title": "Nate Smith's debut solo album is Kinfolk: Postcards From Everywhere.",
"credit": "Photo: Laura Hanifin/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12857732": {
"type": "attachments",
"id": "arts_12857732",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12857732",
"found": true
},
"parent": 12857731,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-e1488783054139.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Logan_wide-f518883fcbbde929a9d231a8d235e399e0d2c5a0-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1488781170,
"modified": 1488783091,
"caption": "Even adamantium rusts: Hugh Jackman stars in 'Logan.'",
"description": "Even adamantium rusts: Hugh Jackman stars in 'Logan.'",
"title": "Even adamantium rusts: Hugh Jackman stars in 'Logan.'",
"credit": "Ben Rothstein/20th Century Fox",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12846564": {
"type": "attachments",
"id": "arts_12846564",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12846564",
"found": true
},
"parent": 12846563,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-495599046-1f25cae46d7b0f5c311207cb4a5486c563575e6f-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1488582954,
"modified": 1488582954,
"caption": null,
"description": "Students from Central Saint Martins art school in London work behind Gustav Metzger, after his worldwide call for a Day of Action to Remember Nature in 2015.",
"title": "Students from Central Saint Martins art school in London work behind Gustav Metzger, after his worldwide call for a Day of Action to Remember Nature in 2015.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12840999": {
"type": "attachments",
"id": "arts_12840999",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12840999",
"found": true
},
"parent": 12840998,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/gettyimages-186086570_wide-a07431128b2ea32f7161255661b1d7d8c6f6e2f1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1488482662,
"modified": 1488482855,
"caption": "Lou Reed performs in Sweden in 1977. The musician's widow, Laurie Anderson, is donating his personal archive of recordings, photos and business records to the New York Public Library",
"description": "Lou Reed performs in Sweden in 1977. The musician's widow, Laurie Anderson, is donating his personal archive of recordings, photos and business records to the New York Public Library",
"title": "Lou Reed performs in Sweden in 1977. The musician's widow, Laurie Anderson, is donating his personal archive of recordings, photos and business records to the New York Public Library.",
"credit": "Photo: AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12831522": {
"type": "attachments",
"id": "arts_12831522",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12831522",
"found": true
},
"parent": 12831521,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-520x292.jpe",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-375x211.jpe",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830.jpe",
"width": 690,
"height": 388
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-50x50.jpe",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-96x96.jpe",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-64x64.jpe",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-150x150.jpe",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-32x32.jpe",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-128x128.jpe",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/hideo-copy.jpg_wide-af47e7f1e92a2b4db169b2bdeb5dcb7995a15830-240x135.jpe",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1488314776,
"modified": 1488318514,
"caption": "Hideo Ikeezumi in his Tokyo shop, Modern Music, in 2009.",
"description": "Hideo Ikeezumi in his Tokyo shop, Modern Music, in 2009.",
"title": "Hideo Ikeezumi in his Tokyo shop, Modern Music, in 2009.",
"credit": "Photo: Cameron Allan McKean/Courtesy of Hideo Ikeezumi",
"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_12904678": {
"type": "authors",
"id": "byline_arts_12904678",
"meta": {
"override": true
},
"slug": "byline_arts_12904678",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_12900328": {
"type": "authors",
"id": "byline_arts_12900328",
"meta": {
"override": true
},
"slug": "byline_arts_12900328",
"name": "Jeff Lunden",
"isLoading": false
},
"byline_arts_12899705": {
"type": "authors",
"id": "byline_arts_12899705",
"meta": {
"override": true
},
"slug": "byline_arts_12899705",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_12894893": {
"type": "authors",
"id": "byline_arts_12894893",
"meta": {
"override": true
},
"slug": "byline_arts_12894893",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_12881133": {
"type": "authors",
"id": "byline_arts_12881133",
"meta": {
"override": true
},
"slug": "byline_arts_12881133",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_12875326": {
"type": "authors",
"id": "byline_arts_12875326",
"meta": {
"override": true
},
"slug": "byline_arts_12875326",
"name": "Doreen McCallister",
"isLoading": false
},
"byline_arts_12870537": {
"type": "authors",
"id": "byline_arts_12870537",
"meta": {
"override": true
},
"slug": "byline_arts_12870537",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_12864700": {
"type": "authors",
"id": "byline_arts_12864700",
"meta": {
"override": true
},
"slug": "byline_arts_12864700",
"name": "Tom Moon",
"isLoading": false
},
"byline_arts_12857731": {
"type": "authors",
"id": "byline_arts_12857731",
"meta": {
"override": true
},
"slug": "byline_arts_12857731",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_12846563": {
"type": "authors",
"id": "byline_arts_12846563",
"meta": {
"override": true
},
"slug": "byline_arts_12846563",
"name": "Colin Dwyer",
"isLoading": false
},
"byline_arts_12840998": {
"type": "authors",
"id": "byline_arts_12840998",
"meta": {
"override": true
},
"slug": "byline_arts_12840998",
"name": "Rick Karr",
"isLoading": false
},
"byline_arts_12831521": {
"type": "authors",
"id": "byline_arts_12831521",
"meta": {
"override": true
},
"slug": "byline_arts_12831521",
"name": "Peter Kolovos",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.2584305
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 168
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 168
}
},
{
"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_12904678": {
"type": "posts",
"id": "arts_12904678",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12904678",
"score": null,
"sort": [
1489611565000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489611565,
"format": "standard",
"title": "Paul McCartney, Denied Control Over Beatles Hits for Decades, is Told to Wait",
"headTitle": "Paul McCartney, Denied Control Over Beatles Hits for Decades, is Told to Wait | KQED",
"content": "\u003cp>After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and \u003ca href=\"http://www.billboard.com/articles/news/7263857/paul-mccartney-beatles-songs-publishing\" target=\"_blank\" rel=\"noopener\">again\u003c/a> to Michael Jackson, in a duplicitous move by the King of Pop, in the ’80s — Paul McCartney is not taking any chances.\u003c/p>\n\u003cp>First, the fine print. In the U.S., authors are allowed to regain copyrights they had previously assigned to other parties, such as a music publishing company, after 56 years, a feature of stateside copyright law designed to give late-in-life artists and their families a financial silver lining (not that McCartney needs it). McCartney is \u003cem>extremely\u003c/em> keen, after the previously mentioned burns he sustained, to regain control of his Beatles work — so much so that he filed termination notices, the legal mechanism for him to regain his copyrights, on The Beatles’ “Love Me Do” and “P.S. I Love You,” about 10 years ahead of schedule. (They turn 56 years old in October, 2018.)\u003c/p>\n\u003cp>Despite that due diligence, McCartney is understandably skittish given his track record of failure in this particular area of his business. The pop genius filed suit, in fact, this past January against Sony/ATV — the world’s largest music publisher, which controls much of the Lennon/McCartney songbook — based essentially on a conversation, shared in court documents, in late 2016 during a Billy Joel concert between his lawyer and Sony/ATV chairman and CEO Martin Bandier. The talk seemed to indicate that McCartney’s reclamations, which should be protected by U.S. law, may not go as smoothly as he’d hoped.\u003c/p>\n\u003cp>The pair’s chat focused on a recent U.K. court case in which Sony/ATV successfully prevented members of Duran Duran \u003ca href=\"http://www.billboard.com/articles/business/7597255/duran-duran-loses-copyright-case-britain-us-termination\" target=\"_blank\" rel=\"noopener\">from regaining\u003c/a> control of hit songs they’d signed away to publishers in the ’80s, despite filing notices much as McCartney has. The discussion alarmed McCartney enough that he brought suit against the publishing giant to ensure it wasn’t planning on using the same legal strategy against him next year. The company urged calm.\u003c/p>\n\u003cp>In both an email thread before McCartney sued and in subsequent court documents, Sony/ATV has maintained that it does not plan to challenge the notices McCartney filed to get back his landmark Beatles compositions. Bandier emailed McCartney’s lawyer that “the previously served notices of termination … constitute an effective exercise … and will become effective on the dates stated in the notices.” Sony/ATV also wrote in a court memo Monday (Mar. 13) that it “has never stated that it intends to assert” a claim similar to the one in the Duran Duran case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the rub, though: The purpose of Sony/ATV’s filing on Mar. 13 was to claim that McCartney’s suit is premature — or “unripe” — since the Duran Duran case in the U.K. in ongoing (it is currently awaiting appeal). Because of this, the publisher wants to have McCartney’s suit against the company dismissed without prejudice (“without” allows McCartney to bring his case again). That the company is looking to dismiss McCartney’s case until Duran Duran’s is finished could, however, is an ominous sign — one that McCartney and his lawyers picked up on, clearly.\u003c/p>\n\u003cp>Sony/ATV maintains it is simply protecting itself by not signing away rights before they’re fully determined via the Duran Duran case — rights it could, ostensibly, use to challenge McCartney’s termination claims in the U.K. Which, again, it says it does not plan on doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCartney, wisely given his past copyright failures, isn’t waiting around to find out whether or not Sony/ATV is as benevolent as it claims. \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=Paul+McCartney%2C+Denied+Control+Over+Beatles+Hits+For+Decades%2C+Is+Told+To+Wait&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 665,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705031233,
"excerpt": "McCartney has long sought control of The Beatles hits he co-authored and has filed a court case against the company that controls them.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "McCartney has long sought control of The Beatles hits he co-authored and has filed a court case against the company that controls them.",
"title": "Paul McCartney, Denied Control Over Beatles Hits for Decades, is Told to Wait | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Paul McCartney, Denied Control Over Beatles Hits for Decades, is Told to Wait",
"datePublished": "2017-03-15T13:59:25-07:00",
"dateModified": "2024-01-11T19:47:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "paul-mccartney-denied-control-over-beatles-hits-for-decades-is-told-to-wait",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=520114080&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Wed, 15 Mar 2017 14:17:00 -0400",
"nprLastModifiedDate": "Wed, 15 Mar 2017 14:35:45 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/03/15/520114080/paul-mccartney-denied-control-over-beatles-hits-for-decades-is-told-to-wait?ft=nprml&f=520114080",
"nprStoryId": "520114080",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 15 Mar 2017 14:35:00 -0400",
"path": "/arts/12904678/paul-mccartney-denied-control-over-beatles-hits-for-decades-is-told-to-wait",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and \u003ca href=\"http://www.billboard.com/articles/news/7263857/paul-mccartney-beatles-songs-publishing\" target=\"_blank\" rel=\"noopener\">again\u003c/a> to Michael Jackson, in a duplicitous move by the King of Pop, in the ’80s — Paul McCartney is not taking any chances.\u003c/p>\n\u003cp>First, the fine print. In the U.S., authors are allowed to regain copyrights they had previously assigned to other parties, such as a music publishing company, after 56 years, a feature of stateside copyright law designed to give late-in-life artists and their families a financial silver lining (not that McCartney needs it). McCartney is \u003cem>extremely\u003c/em> keen, after the previously mentioned burns he sustained, to regain control of his Beatles work — so much so that he filed termination notices, the legal mechanism for him to regain his copyrights, on The Beatles’ “Love Me Do” and “P.S. I Love You,” about 10 years ahead of schedule. (They turn 56 years old in October, 2018.)\u003c/p>\n\u003cp>Despite that due diligence, McCartney is understandably skittish given his track record of failure in this particular area of his business. The pop genius filed suit, in fact, this past January against Sony/ATV — the world’s largest music publisher, which controls much of the Lennon/McCartney songbook — based essentially on a conversation, shared in court documents, in late 2016 during a Billy Joel concert between his lawyer and Sony/ATV chairman and CEO Martin Bandier. The talk seemed to indicate that McCartney’s reclamations, which should be protected by U.S. law, may not go as smoothly as he’d hoped.\u003c/p>\n\u003cp>The pair’s chat focused on a recent U.K. court case in which Sony/ATV successfully prevented members of Duran Duran \u003ca href=\"http://www.billboard.com/articles/business/7597255/duran-duran-loses-copyright-case-britain-us-termination\" target=\"_blank\" rel=\"noopener\">from regaining\u003c/a> control of hit songs they’d signed away to publishers in the ’80s, despite filing notices much as McCartney has. The discussion alarmed McCartney enough that he brought suit against the publishing giant to ensure it wasn’t planning on using the same legal strategy against him next year. The company urged calm.\u003c/p>\n\u003cp>In both an email thread before McCartney sued and in subsequent court documents, Sony/ATV has maintained that it does not plan to challenge the notices McCartney filed to get back his landmark Beatles compositions. Bandier emailed McCartney’s lawyer that “the previously served notices of termination … constitute an effective exercise … and will become effective on the dates stated in the notices.” Sony/ATV also wrote in a court memo Monday (Mar. 13) that it “has never stated that it intends to assert” a claim similar to the one in the Duran Duran case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the rub, though: The purpose of Sony/ATV’s filing on Mar. 13 was to claim that McCartney’s suit is premature — or “unripe” — since the Duran Duran case in the U.K. in ongoing (it is currently awaiting appeal). Because of this, the publisher wants to have McCartney’s suit against the company dismissed without prejudice (“without” allows McCartney to bring his case again). That the company is looking to dismiss McCartney’s case until Duran Duran’s is finished could, however, is an ominous sign — one that McCartney and his lawyers picked up on, clearly.\u003c/p>\n\u003cp>Sony/ATV maintains it is simply protecting itself by not signing away rights before they’re fully determined via the Duran Duran case — rights it could, ostensibly, use to challenge McCartney’s termination claims in the U.K. Which, again, it says it does not plan on doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCartney, wisely given his past copyright failures, isn’t waiting around to find out whether or not Sony/ATV is as benevolent as it claims. \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=Paul+McCartney%2C+Denied+Control+Over+Beatles+Hits+For+Decades%2C+Is+Told+To+Wait&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12904678/paul-mccartney-denied-control-over-beatles-hits-for-decades-is-told-to-wait",
"authors": [
"byline_arts_12904678"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12904680",
"label": "arts_137"
},
"arts_12900328": {
"type": "posts",
"id": "arts_12900328",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12900328",
"score": null,
"sort": [
1489590040000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489590040,
"format": "standard",
"title": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility",
"headTitle": "A Blind Theatergoer’s ‘Hamilton’ Lawsuit Aims Spotlight On Broadway Accessibility | KQED",
"content": "\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\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=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 812,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705031239,
"excerpt": "The class-action suit brought against the hit musical doesn't seek damages. The attorneys say the hope is to draw attention to Broadway's spotty record in serving audiences with disabilities.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The class-action suit brought against the hit musical doesn't seek damages. The attorneys say the hope is to draw attention to Broadway's spotty record in serving audiences with disabilities.",
"title": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility",
"datePublished": "2017-03-15T08:00:40-07:00",
"dateModified": "2024-01-11T19:47:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=520008274&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Jeff Lunden",
"nprStoryDate": "Tue, 14 Mar 2017 16:28:00 -0400",
"nprLastModifiedDate": "Tue, 14 Mar 2017 18:33:02 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/health-shots/2017/03/14/520008274/a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility?ft=nprml&f=520008274",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170314_atc_a_blind_theatergoers_hamilton_lawsuit_aims_spotlight_on_broadway_accessibility.mp3?orgId=1&topicId=1144&d=295&p=2&story=520008274&t=progseg&e=520096680&seg=19&ft=nprml&f=520008274",
"nprAudioM3u": "http://api.npr.org/m3u/1520162982-d1995f.m3u?orgId=1&topicId=1144&d=295&p=2&story=520008274&t=progseg&e=520096680&seg=19&ft=nprml&f=520008274",
"nprStoryId": "520008274",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 14 Mar 2017 18:33:00 -0400",
"path": "/arts/12900328/a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170314_atc_a_blind_theatergoers_hamilton_lawsuit_aims_spotlight_on_broadway_accessibility.mp3?orgId=1&topicId=1144&d=295&p=2&story=520008274&t=progseg&e=520096680&seg=19&ft=nprml&f=520008274",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\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=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12900328/a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility",
"authors": [
"byline_arts_12900328"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11683550",
"label": "arts_137"
},
"arts_12899705": {
"type": "posts",
"id": "arts_12899705",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12899705",
"score": null,
"sort": [
1489522181000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489522181,
"format": "standard",
"title": "Record Producer, Label Executive Tommy LiPuma Has Died at Age 80",
"headTitle": "Record Producer, Label Executive Tommy LiPuma Has Died at Age 80 | KQED",
"content": "\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2011, he produced Paul McCartney’s Concord album \u003cem>Kisses On The Bottom\u003c/em>, which won a Grammy for Best Pop Standard Album (Vocal) along with projects with Leon Russell and the trumpeter Dominick Farinacci. His last production was a forthcoming album from Krall entitled \u003cem>Turn Up The Quiet\u003c/em>, which is scheduled for release in May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LiPuma is survived by his wife, Gill, daughters Jen Monti and Danielle Wiener, and four granchildren: Matty, Julia, Chloe and Ava. \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=Record+Producer+And+Label+Executive+Tommy+LiPuma+Has+Died+At+Age+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 462,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705031245,
"excerpt": "After having worked his way up from packing records at a warehouse, he had decades of success collaborating with artists like George Benson, Diana Krall, Paul McCartney and Natalie Cole.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After having worked his way up from packing records at a warehouse, he had decades of success collaborating with artists like George Benson, Diana Krall, Paul McCartney and Natalie Cole.",
"title": "Record Producer, Label Executive Tommy LiPuma Has Died at Age 80 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Record Producer, Label Executive Tommy LiPuma Has Died at Age 80",
"datePublished": "2017-03-14T13:09:41-07:00",
"dateModified": "2024-01-11T19:47:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "record-producer-label-executive-tommy-lipuma-has-died-at-age-80",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=520119670&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Tue, 14 Mar 2017 11:08:00 -0400",
"nprLastModifiedDate": "Tue, 14 Mar 2017 14:13:21 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/03/14/520119670/record-producer-and-label-executive-tommy-lipuma-has-died-at-age-80?ft=nprml&f=520119670",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Stephen Lovekin",
"nprStoryId": "520119670",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 14 Mar 2017 12:58:00 -0400",
"path": "/arts/12899705/record-producer-label-executive-tommy-lipuma-has-died-at-age-80",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2011, he produced Paul McCartney’s Concord album \u003cem>Kisses On The Bottom\u003c/em>, which won a Grammy for Best Pop Standard Album (Vocal) along with projects with Leon Russell and the trumpeter Dominick Farinacci. His last production was a forthcoming album from Krall entitled \u003cem>Turn Up The Quiet\u003c/em>, which is scheduled for release in May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LiPuma is survived by his wife, Gill, daughters Jen Monti and Danielle Wiener, and four granchildren: Matty, Julia, Chloe and Ava. \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=Record+Producer+And+Label+Executive+Tommy+LiPuma+Has+Died+At+Age+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12899705/record-producer-label-executive-tommy-lipuma-has-died-at-age-80",
"authors": [
"byline_arts_12899705"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12899706",
"label": "arts_137"
},
"arts_12894893": {
"type": "posts",
"id": "arts_12894893",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12894893",
"score": null,
"sort": [
1489435773000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489435773,
"format": "standard",
"title": "Why Was That Italian Band Soviet Soviet Deported?",
"headTitle": "Why Was That Italian Band Soviet Soviet Deported? | KQED",
"content": "\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Was+That+Band+Deported%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2225,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 44
},
"modified": 1705031263,
"excerpt": "Was the Italian group Soviet Soviet a security risk? Did it pose an economic threat to Americans? And how hard is it to get a performer's visa, anyway? We work through the details.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Was the Italian group Soviet Soviet a security risk? Did it pose an economic threat to Americans? And how hard is it to get a performer's visa, anyway? We work through the details.",
"title": "Why Was That Italian Band Soviet Soviet Deported? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why Was That Italian Band Soviet Soviet Deported?",
"datePublished": "2017-03-13T13:09:33-07:00",
"dateModified": "2024-01-11T19:47:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "why-was-that-italian-band-soviet-soviet-deported",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=519987685&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Mon, 13 Mar 2017 14:31:00 -0400",
"nprLastModifiedDate": "Mon, 13 Mar 2017 14:46:02 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/03/13/519987685/why-was-that-band-deported?ft=nprml&f=519987685",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Joe Raedle",
"nprStoryId": "519987685",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 13 Mar 2017 14:46:00 -0400",
"path": "/arts/12894893/why-was-that-italian-band-soviet-soviet-deported",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\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>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Was+That+Band+Deported%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12894893/why-was-that-italian-band-soviet-soviet-deported",
"authors": [
"byline_arts_12894893"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12894894",
"label": "arts_137"
},
"arts_12881133": {
"type": "posts",
"id": "arts_12881133",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12881133",
"score": null,
"sort": [
1489186597000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489186597,
"format": "standard",
"title": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported",
"headTitle": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported | KQED",
"content": "\u003cp>This afternoon, the Italian trio Soviet Soviet posted a \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\" target=\"_blank\" rel=\"noopener\">lengthy statement\u003c/a> on Facebook explaining why they would not be keeping their U.S. tour dates this week and next: they had been deported.\u003c/p>\n\u003cp>https://www.facebook.com/sovietsovietband/posts/10155120054589810\u003c/p>\n\u003cp>The band, who are based in the city of Pesaro, landed in Seattle on Wednesday afternoon. They were traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States \u003ca href=\"https://travel.state.gov/content/visas/en/visit/visa-waiver-program.html\" target=\"_blank\" rel=\"noopener\">without\u003c/a> having to obtain a visa.\u003c/p>\n\u003cp>According to the group, its three members were carrying a letter from its American record label explaining that the musicians were scheduled to perform a number of “promotional,” non-paid performances in the U.S., including a live performance at Member Station KEXP, as well as a showcase at the South by Southwest (SXSW) festival in Austin, Texas.\u003c/p>\n\u003cp>The band says that its three musicians were questioned for several hours, and “agents” (presumably U.S. Customs and Border Protection officers) denied them entry into the country. From the airport, the band says, the three were taken to a jail and held overnight before being escorted to a plane and sent back to Italy. The trio says that they were treated “like criminals.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DuSlEofvjf0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 760,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705031280,
"excerpt": "The Italian post-punk group, who had tried to enter the U.S. to play at Member Station KEXP and then at SXSW, says that they were sent back to Italy by authorities after they spent the night in jail.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Italian post-punk group, who had tried to enter the U.S. to play at Member Station KEXP and then at SXSW, says that they were sent back to Italy by authorities after they spent the night in jail.",
"title": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported",
"datePublished": "2017-03-10T14:56:37-08:00",
"dateModified": "2024-01-11T19:48:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=519707931&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Fri, 10 Mar 2017 17:39:00 -0500",
"nprLastModifiedDate": "Fri, 10 Mar 2017 17:44:38 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported?ft=nprml&f=519707931",
"nprImageAgency": "Courtesy of the artist",
"nprStoryId": "519707931",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 10 Mar 2017 17:44:00 -0500",
"path": "/arts/12881133/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This afternoon, the Italian trio Soviet Soviet posted a \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\" target=\"_blank\" rel=\"noopener\">lengthy statement\u003c/a> on Facebook explaining why they would not be keeping their U.S. tour dates this week and next: they had been deported.\u003c/p>\n\u003cp>https://www.facebook.com/sovietsovietband/posts/10155120054589810\u003c/p>\n\u003cp>The band, who are based in the city of Pesaro, landed in Seattle on Wednesday afternoon. They were traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States \u003ca href=\"https://travel.state.gov/content/visas/en/visit/visa-waiver-program.html\" target=\"_blank\" rel=\"noopener\">without\u003c/a> having to obtain a visa.\u003c/p>\n\u003cp>According to the group, its three members were carrying a letter from its American record label explaining that the musicians were scheduled to perform a number of “promotional,” non-paid performances in the U.S., including a live performance at Member Station KEXP, as well as a showcase at the South by Southwest (SXSW) festival in Austin, Texas.\u003c/p>\n\u003cp>The band says that its three musicians were questioned for several hours, and “agents” (presumably U.S. Customs and Border Protection officers) denied them entry into the country. From the airport, the band says, the three were taken to a jail and held overnight before being escorted to a plane and sent back to Italy. The trio says that they were treated “like criminals.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DuSlEofvjf0'\n title='//www.youtube.com/embed/DuSlEofvjf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12881133/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported",
"authors": [
"byline_arts_12881133"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12881134",
"label": "arts_137"
},
"arts_12875326": {
"type": "posts",
"id": "arts_12875326",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12875326",
"score": null,
"sort": [
1489086261000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489086261,
"format": "standard",
"title": "Grammy Award-Winning Latin Jazz Flutist Dave Valentin Dies at 64",
"headTitle": "Grammy Award-Winning Latin Jazz Flutist Dave Valentin Dies at 64 | KQED",
"content": "\u003cp>Dave Valentin became one of the pre-eminent flutists in Latin jazz. He was known for his creative combination of fusion, pop and R&B.\u003c/p>\n\u003cp>He won a Grammy in 2003 for best Latin jazz album for “The Gathering,” by the Caribbean Jazz Project. Vibraphonist Dave Samuels was also featured on that record.\u003c/p>\n\u003cp>Manager Richie Bonilla told news agencies that Valentin, 64, who had suffered multiple strokes over the last several years, died Wednesday from stroke complications and Parkinson’s disease.\u003c/p>\n\u003cp>When he was five years old, Valentin started playing bongos and congas. His father, who was in the Merchant Marine, had brought them home from Brazil.\u003c/p>\n\u003cp>Valentin took piano lessons at 9 and was playing percussion for paying gigs when he was 10.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He recorded more than a dozen albums — either as a solo artist, band leader or playing on other artists’ recordings.\u003c/p>\n\u003cp>Valentin toured with his childhood idol, percussionist Tito Puente, and was music director of Puente’s Golden Latin Jazz All-Stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/03/08/arts/music/dave-valentin-dead-latin-jazz-flutist.html\">The New York Times\u003c/a> reports Valentin delighted in recounting how he became a flutist:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘I started out as a percussionist in school. But I wanted to meet this girl, Irene, who was a flutist,’ he recalled in 2011.\u003c/p>\n\u003cp>” ‘She showed me a scale, and I played it immediately. Do-re-me-fa-so-la-ti-do. Without knowing nothing! So, I borrowed a flute, bought a Herbie Mann record and learned “Comin’ Home Baby.”\u003c/p>\n\u003cp>” ‘Three weeks later, I went to her and played it,’ he continued. ‘I knew I had her! She said, “I’ve been taking lessons for three years and you come in here in three weeks and play like that? Don’t ever talk to me again!”\u003c/p>\n\u003cp>” ‘I lost the girl, but kept the flute.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grammy+Award-Winning+Latin+Jazz+Flutist+Dave+Valentin+Dies+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 333,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705031294,
"excerpt": "Valentin became one of the pre-eminent flutists in Latin jazz, known for his creative combination of fusion, pop and R&B. Valentin died on Wednesday of complications from a stroke, his manager said.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Valentin became one of the pre-eminent flutists in Latin jazz, known for his creative combination of fusion, pop and R&B. Valentin died on Wednesday of complications from a stroke, his manager said.",
"title": "Grammy Award-Winning Latin Jazz Flutist Dave Valentin Dies at 64 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Grammy Award-Winning Latin Jazz Flutist Dave Valentin Dies at 64",
"datePublished": "2017-03-09T11:04:21-08:00",
"dateModified": "2024-01-11T19:48:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "grammy-award-winning-latin-jazz-flutist-dave-valentin-dies-at-64",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=519374941&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Doreen McCallister",
"nprStoryDate": "Thu, 09 Mar 2017 04:43:00 -0500",
"nprLastModifiedDate": "Thu, 09 Mar 2017 04:43:02 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/03/09/519374941/grammy-award-winning-latin-jazz-flutist-dave-valentin-dies-at-64?ft=nprml&f=519374941",
"nprStoryId": "519374941",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 09 Mar 2017 04:42:00 -0500",
"path": "/arts/12875326/grammy-award-winning-latin-jazz-flutist-dave-valentin-dies-at-64",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dave Valentin became one of the pre-eminent flutists in Latin jazz. He was known for his creative combination of fusion, pop and R&B.\u003c/p>\n\u003cp>He won a Grammy in 2003 for best Latin jazz album for “The Gathering,” by the Caribbean Jazz Project. Vibraphonist Dave Samuels was also featured on that record.\u003c/p>\n\u003cp>Manager Richie Bonilla told news agencies that Valentin, 64, who had suffered multiple strokes over the last several years, died Wednesday from stroke complications and Parkinson’s disease.\u003c/p>\n\u003cp>When he was five years old, Valentin started playing bongos and congas. His father, who was in the Merchant Marine, had brought them home from Brazil.\u003c/p>\n\u003cp>Valentin took piano lessons at 9 and was playing percussion for paying gigs when he was 10.\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>He recorded more than a dozen albums — either as a solo artist, band leader or playing on other artists’ recordings.\u003c/p>\n\u003cp>Valentin toured with his childhood idol, percussionist Tito Puente, and was music director of Puente’s Golden Latin Jazz All-Stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/03/08/arts/music/dave-valentin-dead-latin-jazz-flutist.html\">The New York Times\u003c/a> reports Valentin delighted in recounting how he became a flutist:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘I started out as a percussionist in school. But I wanted to meet this girl, Irene, who was a flutist,’ he recalled in 2011.\u003c/p>\n\u003cp>” ‘She showed me a scale, and I played it immediately. Do-re-me-fa-so-la-ti-do. Without knowing nothing! So, I borrowed a flute, bought a Herbie Mann record and learned “Comin’ Home Baby.”\u003c/p>\n\u003cp>” ‘Three weeks later, I went to her and played it,’ he continued. ‘I knew I had her! She said, “I’ve been taking lessons for three years and you come in here in three weeks and play like that? Don’t ever talk to me again!”\u003c/p>\n\u003cp>” ‘I lost the girl, but kept the flute.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grammy+Award-Winning+Latin+Jazz+Flutist+Dave+Valentin+Dies+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12875326/grammy-award-winning-latin-jazz-flutist-dave-valentin-dies-at-64",
"authors": [
"byline_arts_12875326"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12875330",
"label": "arts_137"
},
"arts_12870537": {
"type": "posts",
"id": "arts_12870537",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12870537",
"score": null,
"sort": [
1489004240000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489004240,
"format": "standard",
"title": "Fred Weintraub, Founder of the Bitter End and 'Enter The Dragon' Producer, Dies at 88",
"headTitle": "Fred Weintraub, Founder of the Bitter End and ‘Enter The Dragon’ Producer, Dies at 88 | KQED",
"content": "\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 647,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705031314,
"excerpt": "As an impresario and producer, Weintraub fueled the careers of scores of important performers across music, comedy and film — from Bob Dylan to Woody Allen to Bruce Lee. He died Sunday at age 88.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As an impresario and producer, Weintraub fueled the careers of scores of important performers across music, comedy and film — from Bob Dylan to Woody Allen to Bruce Lee. He died Sunday at age 88.",
"title": "Fred Weintraub, Founder of the Bitter End and 'Enter The Dragon' Producer, Dies at 88 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Fred Weintraub, Founder of the Bitter End and 'Enter The Dragon' Producer, Dies at 88",
"datePublished": "2017-03-08T12:17:20-08:00",
"dateModified": "2024-01-11T19:48:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fred-weintraub-founder-of-the-bitter-end-and-enter-the-dragon-producer-dies-at-88",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=519227958&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Anastasia Tsioulcas",
"nprStoryDate": "Wed, 08 Mar 2017 13:04:00 -0500",
"nprLastModifiedDate": "Wed, 08 Mar 2017 14:19:16 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/03/08/519227958/fred-weintraub-founder-of-the-bitter-end-and-enter-the-dragon-producer-dies-at-8?ft=nprml&f=519227958",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Stanley Bielecki Movie Collection",
"nprStoryId": "519227958",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 08 Mar 2017 14:19:00 -0500",
"path": "/arts/12870537/fred-weintraub-founder-of-the-bitter-end-and-enter-the-dragon-producer-dies-at-88",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12870537/fred-weintraub-founder-of-the-bitter-end-and-enter-the-dragon-producer-dies-at-88",
"authors": [
"byline_arts_12870537"
],
"categories": [
"arts_74",
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12870538",
"label": "arts_137"
},
"arts_12864700": {
"type": "posts",
"id": "arts_12864700",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12864700",
"score": null,
"sort": [
1488903788000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1488903788,
"format": "standard",
"title": "Nate Smith's 'Kinfolk': A Study in Nomadic Jazz",
"headTitle": "Nate Smith’s ‘Kinfolk’: A Study in Nomadic Jazz | KQED",
"content": "\u003cp>Over the last 15 years, drummer and composer Nate Smith has built the quintessential jazz resume: He’s been in bands led by jazz legends, such as bassist \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a>, and toured with some of the music’s rising stars, like saxophonist \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\" target=\"_blank\" rel=\"noopener\">Chris Potter\u003c/a>.\u003c/p>\n\u003cp>Jazz musicians often lead nomadic lives; they go where the gigs are. A growing contingent of younger players are musical nomads, too: They’re reworking the beats they grew up with — hip-hop, rock, R&B — into settings for jazz creativity. Smith, 42, is among them. He comes from jazz — he’s happy when he can get sparks flying — but, like many of his peers, he’s searching beyond jazz history.\u003c/p>\n\u003cp>His first solo album, \u003cem>Kinfolk: Postcards From Everywhere,\u003c/em> emphasizes catchy, singable melodies and spring-loaded backbeats. Smith often starts with a conventional pattern, then disrupts it by adding an extra hiccup of a beat. Just that slight modification gives the groove a serious jolt.\u003c/p>\n\u003cp>Throughout the record, Smith tells multiple travel stories. Some reflect his experiences touring; he’s soaked up breezy, wonderfully open grooves from all over the place. Some are more personal: His parents are heard in short interludes, recalling his family’s moves from the South to the North and back. Many songs express a deep wistfulness and the traveler’s longing for home.\u003c/p>\n\u003cp>When Smith and vocalist \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> listened back to the tune “Pages” in the studio, the drummer says he was seized with an unusual worry — that the track was too pretty, not cerebral enough. He got over that pretty quickly, when he realized that the journey of the project mirrored his own journey: He started out in jazz and wound up with the kind of sweeping travel diary only a nomad could make. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4DAZtVO3Xho\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nate+Smith%27s+%27Kinfolk%27%3A+A+Study+In+Nomadic+Jazz&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 331,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705031329,
"excerpt": "The drummer and Virginia native's first solo project, \u003cem>Kinfolk: Postcards From Everywhere\u003c/em>, introduces a restless musical spirit.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The drummer and Virginia native's first solo project, Kinfolk: Postcards From Everywhere, introduces a restless musical spirit.",
"title": "Nate Smith's 'Kinfolk': A Study in Nomadic Jazz | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Nate Smith's 'Kinfolk': A Study in Nomadic Jazz",
"datePublished": "2017-03-07T08:23:08-08:00",
"dateModified": "2024-01-11T19:48:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "nate-smiths-kinfolk-a-study-in-nomadic-jazz",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=518834878&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 06 Mar 2017 16:32:32 -0500",
"nprLastModifiedDate": "Mon, 06 Mar 2017 16:32:32 -0500",
"nprHtmlLink": "http://www.npr.org/2017/03/06/518834878/nate-smiths-kinfolk-a-study-in-nomadic-jazz?ft=nprml&f=518834878",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170306_atc_nate_smiths_kinfolk_a_study_in_nomadic_jazz.mp3?orgId=1&topicId=1104&d=232&p=2&story=518834878&t=progseg&e=518750642&seg=8&ft=nprml&f=518834878",
"nprImageAgency": "Courtesy of the artist",
"nprAudioM3u": "http://api.npr.org/m3u/1518858390-f72909.m3u?orgId=1&topicId=1104&d=232&p=2&story=518834878&t=progseg&e=518750642&seg=8&ft=nprml&f=518834878",
"nprStoryId": "518834878",
"nprByline": "Tom Moon",
"sticky": false,
"nprImageCredit": "Laura Hanifin",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 06 Mar 2017 17:01:00 -0500",
"path": "/arts/12864700/nate-smiths-kinfolk-a-study-in-nomadic-jazz",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170306_atc_nate_smiths_kinfolk_a_study_in_nomadic_jazz.mp3?orgId=1&topicId=1104&d=232&p=2&story=518834878&t=progseg&e=518750642&seg=8&ft=nprml&f=518834878",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last 15 years, drummer and composer Nate Smith has built the quintessential jazz resume: He’s been in bands led by jazz legends, such as bassist \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a>, and toured with some of the music’s rising stars, like saxophonist \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\" target=\"_blank\" rel=\"noopener\">Chris Potter\u003c/a>.\u003c/p>\n\u003cp>Jazz musicians often lead nomadic lives; they go where the gigs are. A growing contingent of younger players are musical nomads, too: They’re reworking the beats they grew up with — hip-hop, rock, R&B — into settings for jazz creativity. Smith, 42, is among them. He comes from jazz — he’s happy when he can get sparks flying — but, like many of his peers, he’s searching beyond jazz history.\u003c/p>\n\u003cp>His first solo album, \u003cem>Kinfolk: Postcards From Everywhere,\u003c/em> emphasizes catchy, singable melodies and spring-loaded backbeats. Smith often starts with a conventional pattern, then disrupts it by adding an extra hiccup of a beat. Just that slight modification gives the groove a serious jolt.\u003c/p>\n\u003cp>Throughout the record, Smith tells multiple travel stories. Some reflect his experiences touring; he’s soaked up breezy, wonderfully open grooves from all over the place. Some are more personal: His parents are heard in short interludes, recalling his family’s moves from the South to the North and back. Many songs express a deep wistfulness and the traveler’s longing for home.\u003c/p>\n\u003cp>When Smith and vocalist \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> listened back to the tune “Pages” in the studio, the drummer says he was seized with an unusual worry — that the track was too pretty, not cerebral enough. He got over that pretty quickly, when he realized that the journey of the project mirrored his own journey: He started out in jazz and wound up with the kind of sweeping travel diary only a nomad could make. \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>\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/4DAZtVO3Xho'\n title='//www.youtube.com/embed/4DAZtVO3Xho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nate+Smith%27s+%27Kinfolk%27%3A+A+Study+In+Nomadic+Jazz&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12864700/nate-smiths-kinfolk-a-study-in-nomadic-jazz",
"authors": [
"byline_arts_12864700"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12864701",
"label": "arts_137"
},
"arts_12857731": {
"type": "posts",
"id": "arts_12857731",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12857731",
"score": null,
"sort": [
1488841221000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1488841221,
"format": "standard",
"title": "'Logan' Is The Best At What It Does — And What It Does Is Gritty",
"headTitle": "‘Logan’ Is The Best At What It Does — And What It Does Is Gritty | KQED",
"content": "\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\u003c/p>\n\u003cp>https://youtu.be/RH3OxVFvTeg\u003c/p>\n\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1237,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705031337,
"excerpt": "This small-scale, sun-blasted tale of an aging Wolverine's efforts to protect a young mutant \"plays like the 'King Lear' of the X-saga.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This small-scale, sun-blasted tale of an aging Wolverine's efforts to protect a young mutant "plays like the 'King Lear' of the X-saga."",
"title": "'Logan' Is The Best At What It Does — And What It Does Is Gritty | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Logan' Is The Best At What It Does — And What It Does Is Gritty",
"datePublished": "2017-03-06T15:00:21-08:00",
"dateModified": "2024-01-11T19:48:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=517009491&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 02 Mar 2017 17:00:13 -0500",
"nprLastModifiedDate": "Thu, 02 Mar 2017 17:00:13 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2017/03/02/517009491/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty?ft=nprml&f=517009491",
"nprImageAgency": "20th Century Fox",
"nprImageCredit": "Ben Rothstein",
"nprStoryId": "517009491",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 02 Mar 2017 17:00:00 -0500",
"path": "/arts/12857731/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\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/RH3OxVFvTeg'\n title='//www.youtube.com/embed/RH3OxVFvTeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\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 significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12857731/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty",
"authors": [
"byline_arts_12857731"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12857732",
"label": "arts_137"
},
"arts_12846563": {
"type": "posts",
"id": "arts_12846563",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12846563",
"score": null,
"sort": [
1488583754000
]
},
"guestAuthors": [],
"slug": "gustav-metzger-whose-creations-were-works-of-destruction-dies-at-90",
"title": "Gustav Metzger, Whose Creations Were Works of Destruction, Dies at 90",
"publishDate": 1488583754,
"format": "standard",
"headTitle": "Gustav Metzger, Whose Creations Were Works of Destruction, Dies at 90 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nzzLdiI9eg\u003c/p>\n\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The artist, who lost most of his family to the Holocaust when he was young, founded the auto-destructive art movement. He explored how destruction could become an act of creation and dissent.",
"status": "publish",
"parent": 0,
"modified": 1726707786,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 861
},
"headData": {
"title": "Gustav Metzger, Whose Creations Were Works of Destruction, Dies at 90 | KQED",
"description": "The artist, who lost most of his family to the Holocaust when he was young, founded the auto-destructive art movement. He explored how destruction could become an act of creation and dissent.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gustav Metzger, Whose Creations Were Works of Destruction, Dies at 90",
"datePublished": "2017-03-03T15:29:14-08:00",
"dateModified": "2024-09-18T18:03:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Tristan Fewings",
"nprByline": "Colin Dwyer",
"nprImageAgency": "Getty Images for Serpentine Gall",
"nprStoryId": "518350960",
"nprApiLink": "http://api.npr.org/query?id=518350960&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/03/03/518350960/gustav-metzger-whose-creations-were-works-of-destruction-dies-at-90?ft=nprml&f=518350960",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 03 Mar 2017 17:42:00 -0500",
"nprStoryDate": "Fri, 03 Mar 2017 17:42:00 -0500",
"nprLastModifiedDate": "Fri, 03 Mar 2017 17:42:30 -0500",
"path": "/arts/12846563/gustav-metzger-whose-creations-were-works-of-destruction-dies-at-90",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\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/9nzzLdiI9eg'\n title='//www.youtube.com/embed/9nzzLdiI9eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12846563/gustav-metzger-whose-creations-were-works-of-destruction-dies-at-90",
"authors": [
"byline_arts_12846563"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12846564",
"label": "arts_137"
},
"arts_12840998": {
"type": "posts",
"id": "arts_12840998",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12840998",
"score": null,
"sort": [
1488484816000
]
},
"guestAuthors": [],
"slug": "lou-reeds-demos-papers-and-record-collection-soon-to-be-public",
"title": "Lou Reed's Demos, Papers and Record Collection Soon to be Public",
"publishDate": 1488484816,
"format": "standard",
"headTitle": "Lou Reed’s Demos, Papers and Record Collection Soon to be Public | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Thursday would have been Lou Reed’s 75th birthday. This morning, his widow, performance artist Laurie Anderson, marked the occasion by announcing that the New York Public Library for the Performing Arts will house Reed’s complete archives. The collection includes thousands of hours of video and audio recordings, Reed’s personal record collection and more than 300 boxes of papers, photos and other items spanning his six-decade career.\u003c/p>\n\u003cp>There’s a 1971 recording of Reed reading poetry. There’s a bill from the legendary New York bar Max’s Kansas City — Reed’s tab stood at $194.08. There’s also a birthday card of more recent vintage inscribed, “Dear Honey Bun, Love and Hugs, Mo” — as in Moe Tucker, The Velvet Underground’s drummer. But NYPL director Jonathan Hiam says it’s the business and legal records that have him excited: The contracts, licensing agreements, tour receipts, and other documents paint a detailed picture of how the music industry evolved.\u003c/p>\n\u003cp>“These kinds of documents are usually in the hands of a private enterprise still, and there’s usually no financial incentive to make them available to anybody,” Hiam says. “So if you’re doing research, this is really a boon.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5r998weOUiM\u003c/p>\n\u003cp>Later this year, library staff will begin the process of digitizing the thousands of hours of video and audio recordings. Music producer and archivist Don Fleming, who has been supervising the restoration, says the process has turned up a few gems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the things they found was a tape from the early ’60s, which seems to be Lou with one of his high school bands rehearsing for the variety show,” Fleming says. “And just following that [clip] is Lou playing Bob Dylan songs.”\u003c/p>\n\u003cp>Those recordings aren’t available yet for legal reasons. But once the issues have been worked out, the recordings — and everything else in the archive — will be available to anyone who visits the library. Laurie Anderson says that’s why she chose to put the archive there instead of a museum or academic institution.\u003c/p>\n\u003cp>“I really wanted it to not be deep in some vault where only people with white gloves can come. He was really democratic,” Anderson explains.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lqEoTN4BGPQ\u003c/p>\n\u003cp>Anderson says she hopes access to the archive will paint a more nuanced picture of Lou Reed than the tough guy in leather jacket and shades everyone knows.\u003c/p>\n\u003cp>“You realize everyone makes mistakes — everyone. Everyone loses their nerve — everyone. Everyone feels vulnerable and small. Take courage from that,” she says. “And that’s why I wanted this archive out: So everyone could see how hard it is to do that, and how determined he was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The New York Public Library will be hosting Reed-related events over the next several weeks. The complete archive — including those early demo recordings — should be available to the public later this year. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Reed%27s+Demos%2C+Papers+And+Record+Collection+Soon+To+Be+Public&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Reed's widow, Laurie Anderson, is donating his personal archive to the New York Public Library on the occasion of what would have been his 75th birthday.",
"status": "publish",
"parent": 0,
"modified": 1726707806,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 541
},
"headData": {
"title": "Lou Reed's Demos, Papers and Record Collection Soon to be Public | KQED",
"description": "Reed's widow, Laurie Anderson, is donating his personal archive to the New York Public Library on the occasion of what would have been his 75th birthday.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lou Reed's Demos, Papers and Record Collection Soon to be Public",
"datePublished": "2017-03-02T12:00:16-08:00",
"dateModified": "2024-09-18T18:03:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Rick Karr",
"nprImageAgency": "AFP/Getty Images",
"nprStoryId": "518150352",
"nprApiLink": "http://api.npr.org/query?id=518150352&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2017/03/02/518150352/lou-reeds-demos-papers-and-record-collection-soon-to-be-public?ft=nprml&f=518150352",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 02 Mar 2017 12:46:00 -0500",
"nprStoryDate": "Thu, 02 Mar 2017 12:46:02 -0500",
"nprLastModifiedDate": "Thu, 02 Mar 2017 12:46:02 -0500",
"path": "/arts/12840998/lou-reeds-demos-papers-and-record-collection-soon-to-be-public",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thursday would have been Lou Reed’s 75th birthday. This morning, his widow, performance artist Laurie Anderson, marked the occasion by announcing that the New York Public Library for the Performing Arts will house Reed’s complete archives. The collection includes thousands of hours of video and audio recordings, Reed’s personal record collection and more than 300 boxes of papers, photos and other items spanning his six-decade career.\u003c/p>\n\u003cp>There’s a 1971 recording of Reed reading poetry. There’s a bill from the legendary New York bar Max’s Kansas City — Reed’s tab stood at $194.08. There’s also a birthday card of more recent vintage inscribed, “Dear Honey Bun, Love and Hugs, Mo” — as in Moe Tucker, The Velvet Underground’s drummer. But NYPL director Jonathan Hiam says it’s the business and legal records that have him excited: The contracts, licensing agreements, tour receipts, and other documents paint a detailed picture of how the music industry evolved.\u003c/p>\n\u003cp>“These kinds of documents are usually in the hands of a private enterprise still, and there’s usually no financial incentive to make them available to anybody,” Hiam says. “So if you’re doing research, this is really a boon.”\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/5r998weOUiM'\n title='//www.youtube.com/embed/5r998weOUiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later this year, library staff will begin the process of digitizing the thousands of hours of video and audio recordings. Music producer and archivist Don Fleming, who has been supervising the restoration, says the process has turned up a few gems.\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>“One of the things they found was a tape from the early ’60s, which seems to be Lou with one of his high school bands rehearsing for the variety show,” Fleming says. “And just following that [clip] is Lou playing Bob Dylan songs.”\u003c/p>\n\u003cp>Those recordings aren’t available yet for legal reasons. But once the issues have been worked out, the recordings — and everything else in the archive — will be available to anyone who visits the library. Laurie Anderson says that’s why she chose to put the archive there instead of a museum or academic institution.\u003c/p>\n\u003cp>“I really wanted it to not be deep in some vault where only people with white gloves can come. He was really democratic,” Anderson explains.\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/lqEoTN4BGPQ'\n title='//www.youtube.com/embed/lqEoTN4BGPQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anderson says she hopes access to the archive will paint a more nuanced picture of Lou Reed than the tough guy in leather jacket and shades everyone knows.\u003c/p>\n\u003cp>“You realize everyone makes mistakes — everyone. Everyone loses their nerve — everyone. Everyone feels vulnerable and small. Take courage from that,” she says. “And that’s why I wanted this archive out: So everyone could see how hard it is to do that, and how determined he was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The New York Public Library will be hosting Reed-related events over the next several weeks. The complete archive — including those early demo recordings — should be available to the public later this year. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Reed%27s+Demos%2C+Papers+And+Record+Collection+Soon+To+Be+Public&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12840998/lou-reeds-demos-papers-and-record-collection-soon-to-be-public",
"authors": [
"byline_arts_12840998"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12840999",
"label": "arts_137"
},
"arts_12831521": {
"type": "posts",
"id": "arts_12831521",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12831521",
"score": null,
"sort": [
1488318909000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1488318909,
"format": "standard",
"title": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi",
"headTitle": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi | KQED",
"content": "\u003cp>\u003cem>Editor’s note: The authors of this post, Peter Kolovos and Steve Lowenthal, worked closely with Hideo Ikeezumi in his final years, with Kolovos purchasing most of the impressive catalog of music he had released and reissuing that catalog through his U.S.-based \u003ca href=\"http://www.theblackeditions.com/\">Black Editions\u003c/a>. Below, they share a remembrance of the man as well as a cross-sectional playlist, complete with “liner notes,” compiled from the vast catalog of strange, lovely sounds that Mr. Ikeezumi dedicated himself to.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Over nearly forty years Hideo Ikeezumi, the Japanese founder of the infamous record label P.S.F. who died early this week at the age of 67, was a champion of his country’s always-vibrant underground scene, introducing the world to some of the most distinct and uncompromising music ever created in Japan.\u003c/p>\n\u003cp>Ikeezumi was born in 1949 in Tokyo, starting his career in music as a buyer for large record store chain Gobangai. Eventually, he became frustrated at the lack of diversity and far-out sounds that the chain would allow to be stocked. To remedy that cultural blind spot he founded the store Modern Music in the early ’80s in Tokyo, stocking the music he cared most about — free jazz, avant-garde, psychedelic rock and other hard-to-find-at-the-time genres. Quickly, his shop became a focal point for adventurous Japanese musicians.\u003c/p>\n\u003cp>Ikeezumi launched P.S.F. records several years later, in 1984, with the release of the aptly titled \u003cem>Psychedelic Speed Freaks\u003c/em>, the debut album of Tokyo band High Rise, which became a titular acronym and shorthand for the new label (its name was, in fact, somewhat amorphous). Works followed soon by iconic Japanese artists such as Keiji Haino, Ghost, Kaoru Abe, White Heaven, Che SHIZU, Shizuka and many others; the label would eventually release over 240 albums. And, across nearly ten volumes, P.S.F.’s seminal \u003cem>Tokyo Flashback\u003c/em> compilations provided wide-ranging introductions to the curious and helped to expand the label beyond its Tokyo base. To further document and explore the music he was working with, Ikeezumi also sporadically published the magazine \u003cem>G-Modern\u003c/em>.\u003c/p>\n\u003cp>Though Modern Music closed in 2014, Ikeezumi continued his work with the label, even as his deteriorating health began to slow his days. In recent years, he reached an agreement [with Kolovos and Lowenthal], through Black Editions, to reissue the P.S.F. catalog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mr. Ikeezumi was a truly visionary man; he had a remarkable ear and an ability to identify truly new and exciting currents in music. He championed and brought first light to many artists that have gone on to have long and distinguished lives in music. Against great odds and out of nothing more than a love of the music, he greatly expanded the world he lived in… to include us.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/309922952″ params=”color=ff5500″ width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“My Cold Dimension” — White Heaven\u003c/strong>\u003c/p>\n\u003cp>White Heaven deliver wild blasts of wah-pedal-drenched coolness, with English lyrics and a more structured form than some of their P.S.F. labelmates. The undeniable chemistry between guitarists Ken Isihara and Michio Kurihara remain among the most unforgettable and revered of the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“The End of Dawn” — Kousokuya\u003c/strong>\u003c/p>\n\u003cp>One of the great bands of the late-’70s Japanese psychedelic underground scene was Kousokuya, formed by Jutok Kaneko. The band’s heavy, dark take on psychedelic rock music remains a mystery all its own. This track is taken from the debut P.S.F. compilation\u003cem> Tokyo Flashback\u003c/em>, from 1991.\u003c/p>\n\u003cp>\u003cstrong>“Will It Fall?” Keiji Haino\u003c/strong>\u003c/p>\n\u003cp>Haino’s solo work is just as essential to the P.S.F. catalog as Fushitsusha, but reveals entirely new depths. This track from his 2002 P.S.F. album \u003cem>To Start Let’s Remove The Color\u003c/em> offers gorgeous excursions in solo guitar and voice, providing a more meditative and solemnly barren landscape.\u003c/p>\n\u003cp>\u003cstrong>“Rotten Telepathies” — Michio Kadotani \u003c/strong>\u003c/p>\n\u003cp>A lost rebel of the Japanese underground, Kadotani was a prolific songwriter whose wild home recordings from the early ’80s mirror his intense manic depression, which eventually led to his early demise. This track is taken from a posthumous collection of his recordings and is stunning in it’s simultaneously futuristic vision and rough technique.\u003c/p>\n\u003cp>\u003cstrong>“Cosmic Audrey, Acid Takion” — Acid Mothers Temple\u003c/strong>\u003c/p>\n\u003cp>Kawabata Mikoto had been a member of seminal groups such as Mainliner and Toho Sara, but is best known for this long-running, far touring band. Acid Mothers live up to their name with wild freak-outs evolving from late ’60s and ’70s-inspired rock and drone. This track is from their 1999 P.S.F. album \u003cem>Pataphisical Freak Out MU!!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“1/21/1972 Alto 1” — Kaoru Abe\u003c/strong>\u003c/p>\n\u003cp>The music of Kaoru Abe provided an early inspiration for P.S.F. Abe played with a fiery intensity that rivaled Albert Ayler at his peak. This is music that lives on the edge and an early example of Japanese “free underground” music.\u003c/p>\n\u003cp>\u003cstrong>“Up The Chimney” — Kan Mikami\u003c/strong>\u003c/p>\n\u003cp>Mikami was an outsider folk singer in the ’60s , whose delivery and songwriting were more intense and deeply poetic than his more pop-oriented peers. P.S.F. recognized Mikami’s unique brilliance and invited him to record a series of LPs and collaborations for the label. This track is from his 1991 P.S.F. album \u003cem>I’m The Only One Around\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>“Crystal Wings” — Shizuka\u003c/strong>\u003c/p>\n\u003cp>A quiet sadness envelops the music of Shizuka, whose ballads ache with beauty. Their sole studio album,\u003cem> Heaven’s Personae\u003c/em>, features some of the most straightforward — yet equally magical — music within the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“Juso Station” — Ché-SHIZU\u003c/strong>\u003c/p>\n\u003cp>Led by legendary improvisor Chie Mukai, Ché-SHIZU is an exploratory dream psychedelia featuring Mukai on vocals on er-hu, a violin-like instrument designed to mimic the human voice. This track, from their 1994 studio album \u003cem>A Journey\u003c/em>, shows a lighter side of the P.S.F. aesthetic, though just as deeply intense and profound.\u003c/p>\n\u003cp>\u003cstrong>“Untitled (Track 3)” — Fushitsusha\u003c/strong>\u003c/p>\n\u003cp>Led by Keiji Haino, this long-running group is a pioneering symbol of the P.S.F. aesthetic, tearing down all boundaries of conventional rock music and finding new limits to traditional instrumentation. While at first it may seem impenetrable, there is an undeniable logic and intent to Haino’s music that reveals itself to those who listen closely enough.\u003c/p>\n\u003cp>\u003cstrong>“Wipe Out” — High Rise\u003c/strong>\u003c/p>\n\u003cp>As a premier act on the P.S.F. label, High Rise are among the legends of 20th Century Japanese underground music. Led by Nanjo Asahita on fuzz bass and Narita Munehiro on electric guitar, this track is off their classic second album \u003cem>High Rise II\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Psychedelic+Speed+Freak%3A+Remembering+The+Blistering+Experimentalism+Of+Hideo+Ikeezumi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1193,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 33
},
"modified": 1705031399,
"excerpt": "Hideo Ikeezumi, the founder of a flashpoint music Tokyo music shop and the quietly influential P.S.F. record label, is remembered by those he worked with most closely in his twilight.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Hideo Ikeezumi, the founder of a flashpoint music Tokyo music shop and the quietly influential P.S.F. record label, is remembered by those he worked with most closely in his twilight.",
"title": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi",
"datePublished": "2017-02-28T13:55:09-08:00",
"dateModified": "2024-01-11T19:49:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "psychedelic-speed-freak-remembering-the-blistering-experimentalism-of-hideo-ikeezumi",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=517746379&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Peter Kolovos",
"nprStoryDate": "Tue, 28 Feb 2017 13:42:00 -0500",
"nprLastModifiedDate": "Tue, 28 Feb 2017 15:17:04 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/02/28/517746379/psychedelic-speed-freak-remembering-the-blistering-experimentalism-of-hideo-ikee?ft=nprml&f=517746379",
"nprImageAgency": "Courtesy of Hideo Ikeezumi",
"nprImageCredit": "Cameron Allan McKean",
"nprStoryId": "517746379",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 28 Feb 2017 15:17:00 -0500",
"path": "/arts/12831521/psychedelic-speed-freak-remembering-the-blistering-experimentalism-of-hideo-ikeezumi",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: The authors of this post, Peter Kolovos and Steve Lowenthal, worked closely with Hideo Ikeezumi in his final years, with Kolovos purchasing most of the impressive catalog of music he had released and reissuing that catalog through his U.S.-based \u003ca href=\"http://www.theblackeditions.com/\">Black Editions\u003c/a>. Below, they share a remembrance of the man as well as a cross-sectional playlist, complete with “liner notes,” compiled from the vast catalog of strange, lovely sounds that Mr. Ikeezumi dedicated himself to.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Over nearly forty years Hideo Ikeezumi, the Japanese founder of the infamous record label P.S.F. who died early this week at the age of 67, was a champion of his country’s always-vibrant underground scene, introducing the world to some of the most distinct and uncompromising music ever created in Japan.\u003c/p>\n\u003cp>Ikeezumi was born in 1949 in Tokyo, starting his career in music as a buyer for large record store chain Gobangai. Eventually, he became frustrated at the lack of diversity and far-out sounds that the chain would allow to be stocked. To remedy that cultural blind spot he founded the store Modern Music in the early ’80s in Tokyo, stocking the music he cared most about — free jazz, avant-garde, psychedelic rock and other hard-to-find-at-the-time genres. Quickly, his shop became a focal point for adventurous Japanese musicians.\u003c/p>\n\u003cp>Ikeezumi launched P.S.F. records several years later, in 1984, with the release of the aptly titled \u003cem>Psychedelic Speed Freaks\u003c/em>, the debut album of Tokyo band High Rise, which became a titular acronym and shorthand for the new label (its name was, in fact, somewhat amorphous). Works followed soon by iconic Japanese artists such as Keiji Haino, Ghost, Kaoru Abe, White Heaven, Che SHIZU, Shizuka and many others; the label would eventually release over 240 albums. And, across nearly ten volumes, P.S.F.’s seminal \u003cem>Tokyo Flashback\u003c/em> compilations provided wide-ranging introductions to the curious and helped to expand the label beyond its Tokyo base. To further document and explore the music he was working with, Ikeezumi also sporadically published the magazine \u003cem>G-Modern\u003c/em>.\u003c/p>\n\u003cp>Though Modern Music closed in 2014, Ikeezumi continued his work with the label, even as his deteriorating health began to slow his days. In recent years, he reached an agreement [with Kolovos and Lowenthal], through Black Editions, to reissue the P.S.F. catalog.\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>Mr. Ikeezumi was a truly visionary man; he had a remarkable ear and an ability to identify truly new and exciting currents in music. He championed and brought first light to many artists that have gone on to have long and distinguished lives in music. Against great odds and out of nothing more than a love of the music, he greatly expanded the world he lived in… to include us.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/309922952″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/309922952″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“My Cold Dimension” — White Heaven\u003c/strong>\u003c/p>\n\u003cp>White Heaven deliver wild blasts of wah-pedal-drenched coolness, with English lyrics and a more structured form than some of their P.S.F. labelmates. The undeniable chemistry between guitarists Ken Isihara and Michio Kurihara remain among the most unforgettable and revered of the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“The End of Dawn” — Kousokuya\u003c/strong>\u003c/p>\n\u003cp>One of the great bands of the late-’70s Japanese psychedelic underground scene was Kousokuya, formed by Jutok Kaneko. The band’s heavy, dark take on psychedelic rock music remains a mystery all its own. This track is taken from the debut P.S.F. compilation\u003cem> Tokyo Flashback\u003c/em>, from 1991.\u003c/p>\n\u003cp>\u003cstrong>“Will It Fall?” Keiji Haino\u003c/strong>\u003c/p>\n\u003cp>Haino’s solo work is just as essential to the P.S.F. catalog as Fushitsusha, but reveals entirely new depths. This track from his 2002 P.S.F. album \u003cem>To Start Let’s Remove The Color\u003c/em> offers gorgeous excursions in solo guitar and voice, providing a more meditative and solemnly barren landscape.\u003c/p>\n\u003cp>\u003cstrong>“Rotten Telepathies” — Michio Kadotani \u003c/strong>\u003c/p>\n\u003cp>A lost rebel of the Japanese underground, Kadotani was a prolific songwriter whose wild home recordings from the early ’80s mirror his intense manic depression, which eventually led to his early demise. This track is taken from a posthumous collection of his recordings and is stunning in it’s simultaneously futuristic vision and rough technique.\u003c/p>\n\u003cp>\u003cstrong>“Cosmic Audrey, Acid Takion” — Acid Mothers Temple\u003c/strong>\u003c/p>\n\u003cp>Kawabata Mikoto had been a member of seminal groups such as Mainliner and Toho Sara, but is best known for this long-running, far touring band. Acid Mothers live up to their name with wild freak-outs evolving from late ’60s and ’70s-inspired rock and drone. This track is from their 1999 P.S.F. album \u003cem>Pataphisical Freak Out MU!!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“1/21/1972 Alto 1” — Kaoru Abe\u003c/strong>\u003c/p>\n\u003cp>The music of Kaoru Abe provided an early inspiration for P.S.F. Abe played with a fiery intensity that rivaled Albert Ayler at his peak. This is music that lives on the edge and an early example of Japanese “free underground” music.\u003c/p>\n\u003cp>\u003cstrong>“Up The Chimney” — Kan Mikami\u003c/strong>\u003c/p>\n\u003cp>Mikami was an outsider folk singer in the ’60s , whose delivery and songwriting were more intense and deeply poetic than his more pop-oriented peers. P.S.F. recognized Mikami’s unique brilliance and invited him to record a series of LPs and collaborations for the label. This track is from his 1991 P.S.F. album \u003cem>I’m The Only One Around\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>“Crystal Wings” — Shizuka\u003c/strong>\u003c/p>\n\u003cp>A quiet sadness envelops the music of Shizuka, whose ballads ache with beauty. Their sole studio album,\u003cem> Heaven’s Personae\u003c/em>, features some of the most straightforward — yet equally magical — music within the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“Juso Station” — Ché-SHIZU\u003c/strong>\u003c/p>\n\u003cp>Led by legendary improvisor Chie Mukai, Ché-SHIZU is an exploratory dream psychedelia featuring Mukai on vocals on er-hu, a violin-like instrument designed to mimic the human voice. This track, from their 1994 studio album \u003cem>A Journey\u003c/em>, shows a lighter side of the P.S.F. aesthetic, though just as deeply intense and profound.\u003c/p>\n\u003cp>\u003cstrong>“Untitled (Track 3)” — Fushitsusha\u003c/strong>\u003c/p>\n\u003cp>Led by Keiji Haino, this long-running group is a pioneering symbol of the P.S.F. aesthetic, tearing down all boundaries of conventional rock music and finding new limits to traditional instrumentation. While at first it may seem impenetrable, there is an undeniable logic and intent to Haino’s music that reveals itself to those who listen closely enough.\u003c/p>\n\u003cp>\u003cstrong>“Wipe Out” — High Rise\u003c/strong>\u003c/p>\n\u003cp>As a premier act on the P.S.F. label, High Rise are among the legends of 20th Century Japanese underground music. Led by Nanjo Asahita on fuzz bass and Narita Munehiro on electric guitar, this track is off their classic second album \u003cem>High Rise II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Psychedelic+Speed+Freak%3A+Remembering+The+Blistering+Experimentalism+Of+Hideo+Ikeezumi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12831521/psychedelic-speed-freak-remembering-the-blistering-experimentalism-of-hideo-ikeezumi",
"authors": [
"byline_arts_12831521"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12831522",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2004,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2513,
"relation": "eq"
},
"items": [
"arts_12904678",
"arts_12900328",
"arts_12899705",
"arts_12894893",
"arts_12881133",
"arts_12875326",
"arts_12870537",
"arts_12864700",
"arts_12857731",
"arts_12846563",
"arts_12840998",
"arts_12831521"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"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_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_1427": {
"type": "terms",
"id": "arts_1427",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1427",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1439,
"slug": "wire",
"isLoading": false,
"link": "/arts/tag/wire"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
