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_12455875": {
"type": "attachments",
"id": "arts_12455875",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12455875",
"found": true
},
"parent": 12455874,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/jackie_wide-425be49e0fad36fe8eeeefe929716bd053d88f52-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1481229448,
"modified": 1481229584,
"caption": "Natalie Portman as Jacqueline Bouvier Kennedy in 'Jackie.'",
"description": "Natalie Portman as Jacqueline Bouvier Kennedy in 'Jackie.'",
"title": "Natalie Portman as Jacqueline Bouvier Kennedy in Jackie.",
"credit": "Stephanie Branchu/Twentieth Century Fox Film Corporation",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12429389": {
"type": "attachments",
"id": "arts_12429389",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12429389",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1.jpg",
"width": 2048,
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8082_custom-64c215d8013ae75da8e75189d4d1ba228f22cbe2-1-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1480727783,
"modified": 1480728115,
"caption": "The Arthur M. Sackler Gallery is showing more than 50 centuries-old Qurans, each made in countries across North Africa and Asia. This copy dates to the early 1700s.",
"description": "The Arthur M. Sackler Gallery is showing more than 50 centuries-old Qurans, each made in countries across North Africa and Asia. This copy dates to the early 1700s.",
"title": "The Arthur M. Sackler Gallery is showing more than 50 centuries-old Qurans, each made in countries across North Africa and Asia. This copy dates to the early 1700s.",
"credit": "Photo: Raquel Zaldivar/NPR",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12426221": {
"type": "attachments",
"id": "arts_12426221",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12426221",
"found": true
},
"parent": 12426220,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830.jpg",
"width": 1526,
"height": 858
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/eyes-of-my-mother_wide-385c2ec8b1e7875565588ce0a0b10b3f45035830-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1480668104,
"modified": 1480668255,
"caption": "Olivia Bond as the young Francisca in 'The Eyes of My Mother.'",
"description": "Olivia Bond as the young Francisca in The Eyes of My Mother.",
"title": "Olivia Bond as the young Francisca in The Eyes of My Mother.",
"credit": "Courtesy of Magnet Releasing",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12418598": {
"type": "attachments",
"id": "arts_12418598",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12418598",
"found": true
},
"parent": 12418597,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-626616018-edit_custom-8c943d868f61805cdca8743f7660f64bdbd144f0-e1480542620699-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1480533340,
"modified": 1480542597,
"caption": "Artist William Christenberry at his home in Washington, D.C., in 2015. Christenberry died Monday at the age of 80.",
"description": "Artist William Christenberry at his home in Washington, D.C., in 2015. Christenberry died Monday at the age of 80.",
"title": "Artist William Christenberry at his home in Washington, D.C., in 2015. Christenberry died Monday at the age of 80.",
"credit": "Photo: Greg Kahn/GRAIN for The Washington Post via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12400417": {
"type": "attachments",
"id": "arts_12400417",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12400417",
"found": true
},
"parent": 12400416,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-175632010-84ce14a6e6e2500fc51f8c54d015274574f52166-e1480199924419-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1480199626,
"modified": 1521658198,
"caption": "Pauline Oliveros performs at Merkin Concert Hall in New York, in 1991",
"description": "Pauline Oliveros performs at Merkin Concert Hall in New York, in 1991",
"title": "Pauline Oliveros performs at Merkin Concert Hall in New York, in 1991.",
"credit": "Jack Vartoogian/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12392640": {
"type": "attachments",
"id": "arts_12392640",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12392640",
"found": true
},
"parent": 12392637,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/MoanaCOVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1480056711,
"modified": 1480056801,
"caption": "The animated Disney movie 'Moana' is a comedy-adventure about a spirited teenager on a mission to fulfill her ancestors' quest.",
"description": "The animated Disney movie 'Moana' is a comedy-adventure about a spirited teenager on a mission to fulfill her ancestors' quest.",
"title": "moana-resize",
"credit": "Courtesy of Walt Disney Studios",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12364615": {
"type": "attachments",
"id": "arts_12364615",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12364615",
"found": true
},
"parent": 12364614,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872.jpg",
"width": 3504,
"height": 1971
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-583899213_wide-5dba3d09050248609e3bca5d2c09c587777a8872-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1479520873,
"modified": 1479521542,
"caption": "David Mancuso, shown here in 1974, died Monday at 72.",
"description": "David Mancuso, shown here in 1974, died Monday at 72.",
"title": "David Mancuso, shown here in 1974, died Monday at 72.",
"credit": "Photo: Allan Tannenbaum/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12349824": {
"type": "attachments",
"id": "arts_12349824",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12349824",
"found": true
},
"parent": 12349823,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-e1479243772649.jpg",
"width": 1920,
"height": 1278
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/elle2_cc_custom-f7ebf90a95c58dd7891807363b66d6895e184598-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1479241767,
"modified": 1479416258,
"caption": "Isabelle Huppert as Michèle in 'Elle.'",
"description": "Isabelle Huppert as Michèle in 'Elle.'",
"title": "Isabelle Huppert as Michèle in 'Elle.'",
"credit": "Courtesy of Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12344689": {
"type": "attachments",
"id": "arts_12344689",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12344689",
"found": true
},
"parent": 12344688,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859.jpg",
"width": 2107,
"height": 1187
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-1920x1082.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1082
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-1920x1082.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1082
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/gettyimages-113309188_vert-6e98718c267f275236a07408bc64bd4cee53ca44-e1479151106859-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1479150910,
"modified": 1479151242,
"caption": "Leon Russell died in his sleep Sunday night, his family says. The singer and songwriter had been planning to resume touring in January; he's seen here in 2011.",
"description": "Leon Russell died in his sleep Sunday night, his family says. The singer and songwriter had been planning to resume touring in January; he's seen here in 2011.",
"title": "Leon Russell died in his sleep last night, his family says. The singer and songwriter had been planning to resume touring in January; he's seen here in 2011.",
"credit": "Photo: Frazer Harrison/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12333306": {
"type": "attachments",
"id": "arts_12333306",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12333306",
"found": true
},
"parent": 12333305,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466.jpg",
"width": 2700,
"height": 1518
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/solo_shellhair2-002-_wide-9a3bade856149b40ae6501165f65141f32d90466-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1478933455,
"modified": 1478933455,
"caption": null,
"description": "\"I'm inviting \u003cem>you\u003c/em> to have a seat at \u003cem>my \u003c/em>table,\" Solange says. \"And it's an honor to be able to have a seat at our table and for us to open up in this way.\"",
"title": "\"I'm inviting you to have a seat at my table,\" Solange says. \"And it's an honor to be able to have a seat at our table and for us to open up in this way.\"",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12322870": {
"type": "attachments",
"id": "arts_12322870",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12322870",
"found": true
},
"parent": 12322869,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-e1478740824655.jpg",
"width": 1920,
"height": 1278
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/l_06889_r_crop21472852729_custom-40137216d6532f47255c48c4a1fece3a010a4d02-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1478736276,
"modified": 1478740937,
"caption": "Joel Edgerton and Ruth Negga in Jeff Nichols' 'Loving.'",
"description": "Joel Edgerton and Ruth Negga in Jeff Nichols' 'Loving.'",
"title": "Joel Edgerton and Ruth Negga in Jeff Nichols' Loving.",
"credit": "Photo: Ben Rothstein/Focus Features",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12327433": {
"type": "attachments",
"id": "arts_12327433",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12327433",
"found": true
},
"parent": 12327432,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-520x233.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 233
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-160x72.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 72
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-960x430.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 430
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-375x168.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 168
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38.jpg",
"width": 2400,
"height": 1076
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-1020x457.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 457
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-1180x529.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 529
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-800x359.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 359
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-1920x861.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 861
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-1180x529.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 529
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-1920x861.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 861
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-768x344.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 344
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/toys-group-shot_custom-6db055737eeacb5a5aa60ebe31243c29e62bbf38-240x108.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 108
}
},
"publishDate": 1478822115,
"modified": 1478822115,
"caption": null,
"description": "Fisher-Price Little People, the role-playing game Dungeons",
"title": "Fisher-Price Little People, the role-playing game Dungeons & Dragons and the simple swing are now in the National Toy Hall of Fame.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_12455874": {
"type": "authors",
"id": "byline_arts_12455874",
"meta": {
"override": true
},
"slug": "byline_arts_12455874",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_12429382": {
"type": "authors",
"id": "byline_arts_12429382",
"meta": {
"override": true
},
"slug": "byline_arts_12429382",
"name": "Steve Inskeep",
"isLoading": false
},
"byline_arts_12426220": {
"type": "authors",
"id": "byline_arts_12426220",
"meta": {
"override": true
},
"slug": "byline_arts_12426220",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_12418597": {
"type": "authors",
"id": "byline_arts_12418597",
"meta": {
"override": true
},
"slug": "byline_arts_12418597",
"name": "Colin Dwyer",
"isLoading": false
},
"byline_arts_12400416": {
"type": "authors",
"id": "byline_arts_12400416",
"meta": {
"override": true
},
"slug": "byline_arts_12400416",
"name": "Laura Wagner",
"isLoading": false
},
"byline_arts_12392637": {
"type": "authors",
"id": "byline_arts_12392637",
"meta": {
"override": true
},
"slug": "byline_arts_12392637",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_12364614": {
"type": "authors",
"id": "byline_arts_12364614",
"meta": {
"override": true
},
"slug": "byline_arts_12364614",
"name": "Piotr Orlov",
"isLoading": false
},
"byline_arts_12349827": {
"type": "authors",
"id": "byline_arts_12349827",
"meta": {
"override": true
},
"slug": "byline_arts_12349827",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_12344688": {
"type": "authors",
"id": "byline_arts_12344688",
"meta": {
"override": true
},
"slug": "byline_arts_12344688",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_12333305": {
"type": "authors",
"id": "byline_arts_12333305",
"meta": {
"override": true
},
"slug": "byline_arts_12333305",
"name": "NPR Staff",
"isLoading": false
},
"byline_arts_12322869": {
"type": "authors",
"id": "byline_arts_12322869",
"meta": {
"override": true
},
"slug": "byline_arts_12322869",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_12327432": {
"type": "authors",
"id": "byline_arts_12327432",
"meta": {
"override": true
},
"slug": "byline_arts_12327432",
"name": "Bill Chappell",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262192
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 171
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 171
}
},
{
"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_12455874": {
"type": "posts",
"id": "arts_12455874",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12455874",
"score": null,
"sort": [
1481299201000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1481299201,
"format": "standard",
"title": "When Private Grief Meets Public Duty: The Intimate, Hypnotic 'Jackie'",
"headTitle": "When Private Grief Meets Public Duty: The Intimate, Hypnotic ‘Jackie’ | KQED",
"content": "\u003cp>The audacious biopic \u003cem>Jackie\u003c/em> opens on the Kennedy Compound in Hyannis Port, Massachusetts in 1963, merely a week after John F. Kennedy was assassinated in Dallas. Though she welcomes a journalist into one of the Kennedy residences along Cape Cod, the now-former First Lady, Jacqueline Bouvier Kennedy, has no permanent home. History has shredded her lease at The White House, which she had controversially renovated during her husband’s time in office, and her belongings had been hastily shuffled to storage, like a college kid taking a break between semesters. “It’s been just one week and already they’re treating him like some dusty old artifact, to be shelved away,” Jackie laments. She understands the country needs to move forward, but she barely had time to pack, much less grieve, before getting whisked away.\u003c/p>\n\u003cp>During the recent Presidential campaign, Hillary Clinton was assailed for a speech to Wall Street in which she expressed the need to have “public and private positions,” referring to Steven Spielberg’s \u003cem>Lincoln\u003c/em> and the political horse-trading necessary to pass the 13th Amendment. \u003cem>Jackie\u003c/em> is about the heartbreaking necessity of having to reconcile private shock and anguish with the stage-management of political theater, which requires a swift and peaceful transfer of power. It honors the unfathomable courage and defiance of a First Lady devoted to public service, even in those instances when she was decried as vain and superficial. The film asserts that her husband wasn’t the only one sacrificed for his country on November 22, 1963.\u003c/p>\n\u003cp>https://youtu.be/g9pW3B8Ycc4\u003c/p>\n\u003cp>Shot in rigorous, semi-experimental close-up, \u003cem>Jackie\u003c/em> frames a national tragedy through an intimate perspective, relying on Natalie Portman’s expressive face to tell much of the story. Director Pablo Larraín, a Chilean director making his English-language debut, carries a fascination with politics and media into a film that examines Jackie’s legacy through different filters. The framing device has Jackie getting interviewed by a reporter (Billy Crudup) in Hyannis Port, often pointedly questioning his questions and battling for control over her own story. It also intersperses footage of Jackie filming the hour-long TV special \u003cem>A Tour of the White House\u003c/em>, which granted CBS viewers a chance to see the work she’d done to enhance “the People’s House.”\u003c/p>\n\u003cp>The bulk of \u003cem>Jackie\u003c/em>, however, is given over to the events of Nov. 22, 1963, when Jackie found herself at the center of a personal and national tragedy. With breathtaking speed, she goes from cradling her dead husband’s head in her lap to witnessing Lyndon Johnson’s swearing-in on Air Force One, all while wearing a pink Chanel dress still caked with blood. In the first of many assertions of will, she refuses to change her outfit because she wants to shame the extremists who threatened her husband during his tour through Texas. Operating from both a strong sense of history and a refusal to succumb to fear, she argues for a large, open funeral procession down the streets of Washington D.C., modeled after Abraham Lincoln after he was assassinated. At the same time, she has to consider her children, who are too young to comprehend the news fully, and her own thorny emotions about a husband who’d grown distant from her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a mesmeric intensity to \u003cem>Jackie\u003c/em> that’s unlike any biopic of its kind, marked by a deliberate effort to narrow the scope to one woman’s actions and reactions over the course of a few fraught days. Much like her extraordinary score for the science fiction film \u003cem>Under The Skin\u003c/em>, composer Mica Levi sets a tone for \u003cem>Jackie\u003c/em> that’s simultaneously discordant and beautiful, with lilting strings punctuated by sharp, ringing woodwinds. There’s an enveloping somberness to the music that complements Portman’s performance, which in quieter moments suggests Jackie as a ghostly figure who’s haunting the wreckage of her own life. “I used to make [men] smile,” she tells the journalist. Now she makes everyone uncomfortable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than merely offering a backstage pass to history, Larraín draws us into the utter uniqueness of a situation where personal loss and national duty collided so violently. No reasonable person could be expected to absorb a tragedy of that magnitude, but Jackie makes shrewd political decisions and stands firmly behind them when others plea for caution. Shock and lucidity would seem to be contradictory responses, but \u003cem>Jackie\u003c/em> makes that duality seem possible and astonishingly heroic. Her abiding sense of patriotism could not be suppressed by an assassin’s bullet.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 794,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705032255,
"excerpt": "Director Pablo Larraín narrows the focus of his Jackie Kennedy biopic to a handful of days around the JFK assassination, and keeps his camera trained on Natalie Portman's expressive face.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Pablo Larraín narrows the focus of his Jackie Kennedy biopic to a handful of days around the JFK assassination, and keeps his camera trained on Natalie Portman's expressive face.",
"title": "When Private Grief Meets Public Duty: The Intimate, Hypnotic 'Jackie' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "When Private Grief Meets Public Duty: The Intimate, Hypnotic 'Jackie'",
"datePublished": "2016-12-09T08:00:01-08:00",
"dateModified": "2024-01-11T20:04:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "when-private-grief-meets-public-duty-the-intimate-hypnotic-jackie",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=503888782&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 01 Dec 2016 17:00:00 -0500",
"nprLastModifiedDate": "Tue, 06 Dec 2016 15:18:24 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/12/01/503888782/when-private-grief-meets-public-duty-the-intimate-hypnotic-jackie?ft=nprml&f=503888782",
"nprImageAgency": "Twentieth Century Fox Film Corporation ",
"nprImageCredit": "Stephanie Branchu",
"nprStoryId": "503888782",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 06 Dec 2016 15:18:00 -0500",
"path": "/arts/12455874/when-private-grief-meets-public-duty-the-intimate-hypnotic-jackie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The audacious biopic \u003cem>Jackie\u003c/em> opens on the Kennedy Compound in Hyannis Port, Massachusetts in 1963, merely a week after John F. Kennedy was assassinated in Dallas. Though she welcomes a journalist into one of the Kennedy residences along Cape Cod, the now-former First Lady, Jacqueline Bouvier Kennedy, has no permanent home. History has shredded her lease at The White House, which she had controversially renovated during her husband’s time in office, and her belongings had been hastily shuffled to storage, like a college kid taking a break between semesters. “It’s been just one week and already they’re treating him like some dusty old artifact, to be shelved away,” Jackie laments. She understands the country needs to move forward, but she barely had time to pack, much less grieve, before getting whisked away.\u003c/p>\n\u003cp>During the recent Presidential campaign, Hillary Clinton was assailed for a speech to Wall Street in which she expressed the need to have “public and private positions,” referring to Steven Spielberg’s \u003cem>Lincoln\u003c/em> and the political horse-trading necessary to pass the 13th Amendment. \u003cem>Jackie\u003c/em> is about the heartbreaking necessity of having to reconcile private shock and anguish with the stage-management of political theater, which requires a swift and peaceful transfer of power. It honors the unfathomable courage and defiance of a First Lady devoted to public service, even in those instances when she was decried as vain and superficial. The film asserts that her husband wasn’t the only one sacrificed for his country on November 22, 1963.\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/g9pW3B8Ycc4'\n title='//www.youtube.com/embed/g9pW3B8Ycc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in rigorous, semi-experimental close-up, \u003cem>Jackie\u003c/em> frames a national tragedy through an intimate perspective, relying on Natalie Portman’s expressive face to tell much of the story. Director Pablo Larraín, a Chilean director making his English-language debut, carries a fascination with politics and media into a film that examines Jackie’s legacy through different filters. The framing device has Jackie getting interviewed by a reporter (Billy Crudup) in Hyannis Port, often pointedly questioning his questions and battling for control over her own story. It also intersperses footage of Jackie filming the hour-long TV special \u003cem>A Tour of the White House\u003c/em>, which granted CBS viewers a chance to see the work she’d done to enhance “the People’s House.”\u003c/p>\n\u003cp>The bulk of \u003cem>Jackie\u003c/em>, however, is given over to the events of Nov. 22, 1963, when Jackie found herself at the center of a personal and national tragedy. With breathtaking speed, she goes from cradling her dead husband’s head in her lap to witnessing Lyndon Johnson’s swearing-in on Air Force One, all while wearing a pink Chanel dress still caked with blood. In the first of many assertions of will, she refuses to change her outfit because she wants to shame the extremists who threatened her husband during his tour through Texas. Operating from both a strong sense of history and a refusal to succumb to fear, she argues for a large, open funeral procession down the streets of Washington D.C., modeled after Abraham Lincoln after he was assassinated. At the same time, she has to consider her children, who are too young to comprehend the news fully, and her own thorny emotions about a husband who’d grown distant from her.\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>There’s a mesmeric intensity to \u003cem>Jackie\u003c/em> that’s unlike any biopic of its kind, marked by a deliberate effort to narrow the scope to one woman’s actions and reactions over the course of a few fraught days. Much like her extraordinary score for the science fiction film \u003cem>Under The Skin\u003c/em>, composer Mica Levi sets a tone for \u003cem>Jackie\u003c/em> that’s simultaneously discordant and beautiful, with lilting strings punctuated by sharp, ringing woodwinds. There’s an enveloping somberness to the music that complements Portman’s performance, which in quieter moments suggests Jackie as a ghostly figure who’s haunting the wreckage of her own life. “I used to make [men] smile,” she tells the journalist. Now she makes everyone uncomfortable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than merely offering a backstage pass to history, Larraín draws us into the utter uniqueness of a situation where personal loss and national duty collided so violently. No reasonable person could be expected to absorb a tragedy of that magnitude, but Jackie makes shrewd political decisions and stands firmly behind them when others plea for caution. Shock and lucidity would seem to be contradictory responses, but \u003cem>Jackie\u003c/em> makes that duality seem possible and astonishingly heroic. Her abiding sense of patriotism could not be suppressed by an assassin’s bullet.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12455874/when-private-grief-meets-public-duty-the-intimate-hypnotic-jackie",
"authors": [
"byline_arts_12455874"
],
"categories": [
"arts_74"
],
"tags": [
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12455875",
"label": "arts_137"
},
"arts_12429382": {
"type": "posts",
"id": "arts_12429382",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12429382",
"score": null,
"sort": [
1480867219000
]
},
"guestAuthors": [],
"slug": "quran-exhibition-shines-a-light-on-the-holy-books-dedicated-artists",
"title": "Quran Exhibition Shines a Light on the Holy Books' Dedicated Artists",
"publishDate": 1480867219,
"format": "standard",
"headTitle": "Quran Exhibition Shines a Light on the Holy Books’ Dedicated Artists | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>When you walk into the Smithsonian’s “\u003ca href=\"http://www.asia.si.edu/exhibitions/current/art-of-the-quran/default.php\" target=\"_blank\" rel=\"noopener\">Art of the Qur’an\u003c/a>” exhibition, you’re met with a book that weighs 150 pounds. The tome, which dates back to the late-1500s, has giant pages that are covered in gold and black Arabic script.\u003c/p>\n\u003cp>“Somebody spent a lot of time, probably years, to complete this manuscript,” says curator Massumeh Farhad. “… The size tells you a great deal about it. I mean, clearly this was not a manuscript that could have been taken out every day for private reading. This was a manuscript that was intended for public display.”\u003c/p>\n\u003cp>That manuscript is among more than 50 centuries-old Qurans on display at the Arthur M. Sackler Gallery in Washington, D.C. The exhibition isn’t about the words of the Quran so much as the people who laboriously copied the book, letter by letter. Some of their names are listed (one manuscript was written by a vizier, or prime minister, of the Ottoman Empire), but most of the creators are unknown.\u003c/p>\n\u003cfigure id=\"attachment_12429393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg\" alt=\"(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-12429393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Either way, each of the pages is one of a kind, and Farhad has flipped through all of them. She says it was a meditative experience: “You notice things that, you know, nobody else had noticed. For instance, human fallibility — because God is infallible but humans aren’t. So there are instances where the calligrapher omitted a verse, but then they always found a way around it. … They put a little asterisk where the verse actually fits in.”\u003c/p>\n\u003cp>In one Quran, that asterisk looks like an eyelash; it directs the reader to look for the missing verse on the edge of the page. In another, the writer corrected a wrong word by covering it with gold. “It’s the gold white out,” Farhad says.\u003c/p>\n\u003cfigure id=\"attachment_12429384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg\" alt='she flipped through all of the books on display. \"Every page is absolutely breathtaking,\" she says.' width=\"800\" height=\"541\" class=\"size-medium wp-image-12429384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1920x1299.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">she flipped through all of the books on display. “Every page is absolutely breathtaking,” she says. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quran copies are like little peepholes, allowing us to peer back into the lives of people we never knew. When Farhad flips through the books, she says she’s really flipping through the past. “And every page is absolutely breathtaking.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Quran+Exhibition+Shines+A+Light+On+The+Holy+Books%27+Dedicated+Artists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The Smithsonian show isn't about the words of the Quran so much as the people who laboriously copied it, letter by letter. When they made a mistake, they fixed it with flourish — and sometimes gold.",
"status": "publish",
"parent": 0,
"modified": 1726787287,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 460
},
"headData": {
"title": "Quran Exhibition Shines a Light on the Holy Books' Dedicated Artists | KQED",
"description": "The Smithsonian show isn't about the words of the Quran so much as the people who laboriously copied it, letter by letter. When they made a mistake, they fixed it with flourish — and sometimes gold.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Quran Exhibition Shines a Light on the Holy Books' Dedicated Artists",
"datePublished": "2016-12-04T08:00:19-08:00",
"dateModified": "2024-09-19T16:08:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Raquel Zaldivar",
"nprByline": "Steve Inskeep",
"nprImageAgency": "NPR",
"nprStoryId": "503640678",
"nprApiLink": "http://api.npr.org/query?id=503640678&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/12/02/503640678/quran-exhibition-shines-a-light-on-the-holy-books-dedicated-artists?ft=nprml&f=503640678",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 02 Dec 2016 10:16:00 -0500",
"nprStoryDate": "Fri, 02 Dec 2016 04:49:00 -0500",
"nprLastModifiedDate": "Fri, 02 Dec 2016 12:49:47 -0500",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2016/12/20161202_me_quran_exhibition_shines_a_light_on_the_holy_books_dedicated_artists.mp3?orgId=1&topicId=1141&d=300&p=3&story=503640678&t=progseg&e=504096371&seg=8&ft=nprml&f=503640678",
"nprAudioM3u": "http://api.npr.org/m3u/1504101031-c64ff2.m3u?orgId=1&topicId=1141&d=300&p=3&story=503640678&t=progseg&e=504096371&seg=8&ft=nprml&f=503640678",
"path": "/arts/12429382/quran-exhibition-shines-a-light-on-the-holy-books-dedicated-artists",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2016/12/20161202_me_quran_exhibition_shines_a_light_on_the_holy_books_dedicated_artists.mp3?orgId=1&topicId=1141&d=300&p=3&story=503640678&t=progseg&e=504096371&seg=8&ft=nprml&f=503640678",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you walk into the Smithsonian’s “\u003ca href=\"http://www.asia.si.edu/exhibitions/current/art-of-the-quran/default.php\" target=\"_blank\" rel=\"noopener\">Art of the Qur’an\u003c/a>” exhibition, you’re met with a book that weighs 150 pounds. The tome, which dates back to the late-1500s, has giant pages that are covered in gold and black Arabic script.\u003c/p>\n\u003cp>“Somebody spent a lot of time, probably years, to complete this manuscript,” says curator Massumeh Farhad. “… The size tells you a great deal about it. I mean, clearly this was not a manuscript that could have been taken out every day for private reading. This was a manuscript that was intended for public display.”\u003c/p>\n\u003cp>That manuscript is among more than 50 centuries-old Qurans on display at the Arthur M. Sackler Gallery in Washington, D.C. The exhibition isn’t about the words of the Quran so much as the people who laboriously copied the book, letter by letter. Some of their names are listed (one manuscript was written by a vizier, or prime minister, of the Ottoman Empire), but most of the creators are unknown.\u003c/p>\n\u003cfigure id=\"attachment_12429393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg\" alt=\"(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-12429393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Either way, each of the pages is one of a kind, and Farhad has flipped through all of them. She says it was a meditative experience: “You notice things that, you know, nobody else had noticed. For instance, human fallibility — because God is infallible but humans aren’t. So there are instances where the calligrapher omitted a verse, but then they always found a way around it. … They put a little asterisk where the verse actually fits in.”\u003c/p>\n\u003cp>In one Quran, that asterisk looks like an eyelash; it directs the reader to look for the missing verse on the edge of the page. In another, the writer corrected a wrong word by covering it with gold. “It’s the gold white out,” Farhad says.\u003c/p>\n\u003cfigure id=\"attachment_12429384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg\" alt='she flipped through all of the books on display. \"Every page is absolutely breathtaking,\" she says.' width=\"800\" height=\"541\" class=\"size-medium wp-image-12429384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1920x1299.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">she flipped through all of the books on display. “Every page is absolutely breathtaking,” she says. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quran copies are like little peepholes, allowing us to peer back into the lives of people we never knew. When Farhad flips through the books, she says she’s really flipping through the past. “And every page is absolutely breathtaking.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Quran+Exhibition+Shines+A+Light+On+The+Holy+Books%27+Dedicated+Artists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12429382/quran-exhibition-shines-a-light-on-the-holy-books-dedicated-artists",
"authors": [
"byline_arts_12429382"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12429389",
"label": "arts_137"
},
"arts_12426220": {
"type": "posts",
"id": "arts_12426220",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12426220",
"score": null,
"sort": [
1480694430000
]
},
"guestAuthors": [],
"slug": "through-the-eyes-of-my-mother-a-young-girl-grows-into-a-vicious-killer",
"title": "Through 'The Eyes of My Mother,' a Young Girl Grows Into a Vicious Killer",
"publishDate": 1480694430,
"format": "standard",
"headTitle": "Through ‘The Eyes of My Mother,’ a Young Girl Grows Into a Vicious Killer | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Perspective is everything in horror films. The most important decision any scare flick can make is whether it expects the audience to identify with the villain or their victims. To see through the eyes of the prey (as in \u003cem>Rosemary’s Baby\u003c/em>, or this year’s excellent \u003cem>Under the Shadow\u003c/em>) requires only that the director make their situation realistically terrifying, so that we imagine we are frightened for our lives, too.\u003c/p>\n\u003cp>But to assume the eyes of the predator (think of the \u003cem>Dracula\u003c/em> movies, or 2013’s body snatcher \u003cem>Under the Skin\u003c/em>) requires a new set of tools, because the viewpoint challenges us to sympathize with the devil — and to question our own moral compasses in the process. This is a surgical kind of filmmaking that is often unpleasant: giving us eyes we’d rather not have, because we shudder to think what we’ll see through them.\u003c/p>\n\u003cp>The exquisite new horror film \u003cem>The Eyes of My Mother\u003c/em>, from first-time writer-director Nicolas Pesce, is all about showing you what you’d rather not see. This is true on a visceral level, with implied or explicit imagery of human organs being carved out of still-living bodies like meat before slaughter. (Yes, the squeamish should definitely look away while they still can.) But it’s also true on a psychological level, as the film tracks one young woman’s evolution from innocent bystander to a horrific crime into the perpetrator of like-minded ones. Perhaps the depravity has always existed within her, but that’s for her to know and us to grapple with.\u003c/p>\n\u003cp>At a sleek ‘n’ bleak 76 minutes, divided into three chapters, there’s precious little time to waste. We first meet Francisca, the daughter of an American farmer and a Portuguese doctor, as a young girl (Olivia Bond) playing around her remote family farmhouse. (Although the story is set in the modern day, this house is a relic of a distant era, with 50-year-old appliances and floral-patterned wallpaper.) Francisca’s doctor mother (Diana Agostini) is teaching her about the human eye by carving up a cow’s, and holds up each part for her to inspect. “Everything we see passes through this,” she explains.\u003c/p>\n\u003cp>From this compassionate killing comes a decidedly uncompassionate one, as a sinister stranger (Will Brill) coolly walks into the family home and murders Mommy Dearest. When Francisca’s nearly-mute father (Paul Nazak) discovers the crime, he betrays no emotion but ties the man up in their barn, allowing the young girl — who seems to never leave the family stead — to lovingly bond with the captive even as she gets out a knife and practices what her mother taught her. (All of this happens without much explanation; dialogue in the film is sparse, and the little there is may make you wish for even less.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As an adult, Francisca continues to glide through her farmhouse with the same childlike reserve and terror. She’s played by the brilliant newcomer Kika Malgalhaes, whose glassy-eyed nonchalance to her own actions is more unnerving than the actions themselves. Alone once her father dies, Francisca keeps the stiffening body in the house, continuing to dress and bathe him as she sets three places at dinnertime. And she’s still got her detainee, whom she cradles like an infant as she feeds him in the barn.\u003c/p>\n\u003cp>Francisca’s actions become increasingly brutal as time goes on; soon she finds less deserving victims, and continues her obsession with peepers. But the film, which is shot in black-and-white, has a merciful way of establishing the details without relishing them. Cinematographer Zach Kuperstein’s camera favors the shadows of the barn to the bodies themselves. Often the really nasty stuff happens in the background or in-between cuts, leaving us with mere hints of the aftermath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At every step there’s a kind of elegance to the way this character remains grounded by a nightmare logic of family psychology, a quilted patchwork of motivations only she understands. It’s a one-upping of the kind of monster-without-motive depiction that came into vogue in the days of \u003cem>Halloween\u003c/em>‘s Michael Myers and never really left. Creating nastiness for its own sake on the horror circuit these days is no longer innovative, but instead comes off as the calling card of the lazy gorehound. \u003cem>The Eyes of My Mother\u003c/em> is the rare entry to give depth to its destructive force, to force those new eyes onto us and make us truly believe the terror of what we see. \u003c/p>\n\n",
"blocks": [],
"excerpt": "This elegant but unsettling horror film implicates the audience by placing us inside the head of the monster at its center, forcing us to see things in ourselves we don't wish to.",
"status": "publish",
"parent": 0,
"modified": 1726705250,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 794
},
"headData": {
"title": "Through 'The Eyes of My Mother,' a Young Girl Grows Into a Vicious Killer | KQED",
"description": "This elegant but unsettling horror film implicates the audience by placing us inside the head of the monster at its center, forcing us to see things in ourselves we don't wish to.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Through 'The Eyes of My Mother,' a Young Girl Grows Into a Vicious Killer",
"datePublished": "2016-12-02T08:00:30-08:00",
"dateModified": "2024-09-18T17:20:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprImageAgency": "Courtesy of Magnet Releasing ",
"nprStoryId": "503890608",
"nprApiLink": "http://api.npr.org/query?id=503890608&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/12/01/503890608/through-the-eyes-of-my-mother-we-see-a-young-woman-grow-into-a-vicious-killer?ft=nprml&f=503890608",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Dec 2016 17:00:00 -0500",
"nprStoryDate": "Thu, 01 Dec 2016 17:00:15 -0500",
"nprLastModifiedDate": "Thu, 01 Dec 2016 17:00:15 -0500",
"path": "/arts/12426220/through-the-eyes-of-my-mother-a-young-girl-grows-into-a-vicious-killer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perspective is everything in horror films. The most important decision any scare flick can make is whether it expects the audience to identify with the villain or their victims. To see through the eyes of the prey (as in \u003cem>Rosemary’s Baby\u003c/em>, or this year’s excellent \u003cem>Under the Shadow\u003c/em>) requires only that the director make their situation realistically terrifying, so that we imagine we are frightened for our lives, too.\u003c/p>\n\u003cp>But to assume the eyes of the predator (think of the \u003cem>Dracula\u003c/em> movies, or 2013’s body snatcher \u003cem>Under the Skin\u003c/em>) requires a new set of tools, because the viewpoint challenges us to sympathize with the devil — and to question our own moral compasses in the process. This is a surgical kind of filmmaking that is often unpleasant: giving us eyes we’d rather not have, because we shudder to think what we’ll see through them.\u003c/p>\n\u003cp>The exquisite new horror film \u003cem>The Eyes of My Mother\u003c/em>, from first-time writer-director Nicolas Pesce, is all about showing you what you’d rather not see. This is true on a visceral level, with implied or explicit imagery of human organs being carved out of still-living bodies like meat before slaughter. (Yes, the squeamish should definitely look away while they still can.) But it’s also true on a psychological level, as the film tracks one young woman’s evolution from innocent bystander to a horrific crime into the perpetrator of like-minded ones. Perhaps the depravity has always existed within her, but that’s for her to know and us to grapple with.\u003c/p>\n\u003cp>At a sleek ‘n’ bleak 76 minutes, divided into three chapters, there’s precious little time to waste. We first meet Francisca, the daughter of an American farmer and a Portuguese doctor, as a young girl (Olivia Bond) playing around her remote family farmhouse. (Although the story is set in the modern day, this house is a relic of a distant era, with 50-year-old appliances and floral-patterned wallpaper.) Francisca’s doctor mother (Diana Agostini) is teaching her about the human eye by carving up a cow’s, and holds up each part for her to inspect. “Everything we see passes through this,” she explains.\u003c/p>\n\u003cp>From this compassionate killing comes a decidedly uncompassionate one, as a sinister stranger (Will Brill) coolly walks into the family home and murders Mommy Dearest. When Francisca’s nearly-mute father (Paul Nazak) discovers the crime, he betrays no emotion but ties the man up in their barn, allowing the young girl — who seems to never leave the family stead — to lovingly bond with the captive even as she gets out a knife and practices what her mother taught her. (All of this happens without much explanation; dialogue in the film is sparse, and the little there is may make you wish for even less.)\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>As an adult, Francisca continues to glide through her farmhouse with the same childlike reserve and terror. She’s played by the brilliant newcomer Kika Malgalhaes, whose glassy-eyed nonchalance to her own actions is more unnerving than the actions themselves. Alone once her father dies, Francisca keeps the stiffening body in the house, continuing to dress and bathe him as she sets three places at dinnertime. And she’s still got her detainee, whom she cradles like an infant as she feeds him in the barn.\u003c/p>\n\u003cp>Francisca’s actions become increasingly brutal as time goes on; soon she finds less deserving victims, and continues her obsession with peepers. But the film, which is shot in black-and-white, has a merciful way of establishing the details without relishing them. Cinematographer Zach Kuperstein’s camera favors the shadows of the barn to the bodies themselves. Often the really nasty stuff happens in the background or in-between cuts, leaving us with mere hints of the aftermath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At every step there’s a kind of elegance to the way this character remains grounded by a nightmare logic of family psychology, a quilted patchwork of motivations only she understands. It’s a one-upping of the kind of monster-without-motive depiction that came into vogue in the days of \u003cem>Halloween\u003c/em>‘s Michael Myers and never really left. Creating nastiness for its own sake on the horror circuit these days is no longer innovative, but instead comes off as the calling card of the lazy gorehound. \u003cem>The Eyes of My Mother\u003c/em> is the rare entry to give depth to its destructive force, to force those new eyes onto us and make us truly believe the terror of what we see. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12426220/through-the-eyes-of-my-mother-a-young-girl-grows-into-a-vicious-killer",
"authors": [
"byline_arts_12426220"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12426221",
"label": "arts_137"
},
"arts_12418597": {
"type": "posts",
"id": "arts_12418597",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12418597",
"score": null,
"sort": [
1480542654000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1480542654,
"format": "standard",
"title": "William Christenberry, Artist Whose Muse was Rural Alabama, Dies at 80",
"headTitle": "William Christenberry, Artist Whose Muse was Rural Alabama, Dies at 80 | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/503856796/503870843\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It was in 1974 that William Christenberry found the little red house.\u003c/p>\n\u003cp>The photographer and painter, a vital chronicler of rural Alabama, came across the building standing alone among the pine trees, deep in the Talladega National Forest. All he had with him was his tiny, no-frills Brownie camera — a long-cherished gift that “Santa brought my sister and me.”\u003c/p>\n\u003cfigure id=\"attachment_12418599\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg\" alt=\"William Christenberry, Red Building in Forest, Hale County, Alabama, 1996.\" width=\"500\" height=\"375\" class=\"size-full wp-image-12418599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Red Building in Forest, Hale County, Alabama, 1996. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was just infatuated with it proportionally,” Christenberry said during a \u003ca href=\"http://www.npr.org/2006/08/03/5613101/christenberry-photos-capture-the-changing-south\" target=\"_blank\" rel=\"noopener\">2006 interview\u003c/a> with \u003cem>All Things Considered\u003c/em>. “The fact that they took this artificial brick siding, which you can buy in rolls and staple or tack it up there, and somebody who must’ve had a great sense of humor, or was totally ignorant of what he or she was doing, covered the front door and made it look like a brick door!”\u003c/p>\n\u003cp>Christenberry died Monday at the age of 80, from complications related to Alzheimer’s disease, according to his daughter Kate. And among the many pillars of his legacy\u003cstrong> \u003c/strong>is the odd, little house that so fascinated him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though he had moved to Washington, D.C., in 1968 to take up a position at the Corcoran College of Art and Design, Christenberry returned every year to rural Alabama, where he had spent his summers as a child. It was a pilgrimage he made for decades. There, he photographed the house — which he later learned was once a one-room schoolhouse — along with small churches and roadside businesses, as they changed with age.\u003c/p>\n\u003cfigure id=\"attachment_12418601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg\" alt=\"William Christenberry, Church, Sprott, Alabama, 1981.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-12418601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-520x368.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Church, Sprott, Alabama, 1981. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’d go into that landscape, what I call the landscape of my childhood, and make these snapshots,” he told NPR. “Never did I dream that years later the world of fine art photography would see something in these.”\u003c/p>\n\u003cp>And the world of fine art did indeed take notice.\u003c/p>\n\u003cp>“What was really spectacular about [his work] is that he made that subject matter universal,” Margaret Lynne Ausfeld, senior curator of art at the Montgomery Museum of Fine Arts, told \u003ca href=\"http://www.tuscaloosanews.com/news/20161129/renowned-artist-from-tuscaloosa-dies\" target=\"_blank\" rel=\"noopener\">Tuscaloosa News\u003c/a>. “When you look at his work, what you see is basically the transitory nature of our life and our world and how things are inevitably going to change over time.”\u003c/p>\n\u003cp>Christenberry, who also worked in abstract painting and sculpture, forged an enduring friendship early in his career with another photographer, Walker Evans. Evans’ \u003cem>Let Us Now Praise Famous Men\u003c/em>, a book of photographs that recorded a trip he took with poet James Agee to Hale County, Ala., in 1936 — the year of Christenberry’s birth. After the two photographers met in the early 1960s, Walker’s work and advice helped shape Christenberry’s development.\u003c/p>\n\u003cfigure id=\"attachment_12418602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg\" alt=\"William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12418602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walker was a great influence. We exchanged ideas until his death, and I like to think there was a lot of cross-influencing,” Christenberry told \u003cem>Afterimage\u003c/em> magazine in 2005.\u003c/p>\n\u003cp>Yet, despite the fact they shared a subject at times, Christenberry said his relationship to Alabama was always different.\u003c/p>\n\u003cp>“His view was objective. My stance is very subjective,” he told the magazine. “The place is so much a part of me. I can’t escape it and have no desire to escape it. I continue to come to grips with it.”\u003c/p>\n\u003cp>And even as he won fellowships from the National Endowment for the Arts and the Guggenheim Memorial Foundation, Christenberry said the long-beating heart of his art remained the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t want my work to be thought of as maudlin or overly sentimental. It’s not. It’s a love affair — a lifetime of involvement with a place. The place is my muse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=William+Christenberry%2C+Artist+Whose+Muse+Was+Rural+Alabama%2C+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 692,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705032356,
"excerpt": "The photographer, who also painted and sculpted, returned to the place of his youth every summer, chronicling the lives of old buildings and roadside businesses as they changed with age.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The photographer, who also painted and sculpted, returned to the place of his youth every summer, chronicling the lives of old buildings and roadside businesses as they changed with age.",
"title": "William Christenberry, Artist Whose Muse was Rural Alabama, Dies at 80 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "William Christenberry, Artist Whose Muse was Rural Alabama, Dies at 80",
"datePublished": "2016-11-30T13:50:54-08:00",
"dateModified": "2024-01-11T20:05:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "william-christenberry-artist-whose-muse-was-rural-alabama-dies-at-80",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=503856796&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Colin Dwyer",
"nprStoryDate": "Wed, 30 Nov 2016 13:00:00 -0500",
"nprLastModifiedDate": "Wed, 30 Nov 2016 13:52:03 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/11/30/503856796/william-christenberry-artist-whose-muse-was-rural-alabama-dies-at-80?ft=nprml&f=503856796",
"nprImageAgency": "Greg Kahn/GRAIN for The Washington Post via Getty Images",
"nprStoryId": "503856796",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 30 Nov 2016 13:52:00 -0500",
"path": "/arts/12418597/william-christenberry-artist-whose-muse-was-rural-alabama-dies-at-80",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/503856796/503870843\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It was in 1974 that William Christenberry found the little red house.\u003c/p>\n\u003cp>The photographer and painter, a vital chronicler of rural Alabama, came across the building standing alone among the pine trees, deep in the Talladega National Forest. All he had with him was his tiny, no-frills Brownie camera — a long-cherished gift that “Santa brought my sister and me.”\u003c/p>\n\u003cfigure id=\"attachment_12418599\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg\" alt=\"William Christenberry, Red Building in Forest, Hale County, Alabama, 1996.\" width=\"500\" height=\"375\" class=\"size-full wp-image-12418599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Red Building in Forest, Hale County, Alabama, 1996. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was just infatuated with it proportionally,” Christenberry said during a \u003ca href=\"http://www.npr.org/2006/08/03/5613101/christenberry-photos-capture-the-changing-south\" target=\"_blank\" rel=\"noopener\">2006 interview\u003c/a> with \u003cem>All Things Considered\u003c/em>. “The fact that they took this artificial brick siding, which you can buy in rolls and staple or tack it up there, and somebody who must’ve had a great sense of humor, or was totally ignorant of what he or she was doing, covered the front door and made it look like a brick door!”\u003c/p>\n\u003cp>Christenberry died Monday at the age of 80, from complications related to Alzheimer’s disease, according to his daughter Kate. And among the many pillars of his legacy\u003cstrong> \u003c/strong>is the odd, little house that so fascinated him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though he had moved to Washington, D.C., in 1968 to take up a position at the Corcoran College of Art and Design, Christenberry returned every year to rural Alabama, where he had spent his summers as a child. It was a pilgrimage he made for decades. There, he photographed the house — which he later learned was once a one-room schoolhouse — along with small churches and roadside businesses, as they changed with age.\u003c/p>\n\u003cfigure id=\"attachment_12418601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg\" alt=\"William Christenberry, Church, Sprott, Alabama, 1981.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-12418601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-520x368.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Church, Sprott, Alabama, 1981. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’d go into that landscape, what I call the landscape of my childhood, and make these snapshots,” he told NPR. “Never did I dream that years later the world of fine art photography would see something in these.”\u003c/p>\n\u003cp>And the world of fine art did indeed take notice.\u003c/p>\n\u003cp>“What was really spectacular about [his work] is that he made that subject matter universal,” Margaret Lynne Ausfeld, senior curator of art at the Montgomery Museum of Fine Arts, told \u003ca href=\"http://www.tuscaloosanews.com/news/20161129/renowned-artist-from-tuscaloosa-dies\" target=\"_blank\" rel=\"noopener\">Tuscaloosa News\u003c/a>. “When you look at his work, what you see is basically the transitory nature of our life and our world and how things are inevitably going to change over time.”\u003c/p>\n\u003cp>Christenberry, who also worked in abstract painting and sculpture, forged an enduring friendship early in his career with another photographer, Walker Evans. Evans’ \u003cem>Let Us Now Praise Famous Men\u003c/em>, a book of photographs that recorded a trip he took with poet James Agee to Hale County, Ala., in 1936 — the year of Christenberry’s birth. After the two photographers met in the early 1960s, Walker’s work and advice helped shape Christenberry’s development.\u003c/p>\n\u003cfigure id=\"attachment_12418602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg\" alt=\"William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12418602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walker was a great influence. We exchanged ideas until his death, and I like to think there was a lot of cross-influencing,” Christenberry told \u003cem>Afterimage\u003c/em> magazine in 2005.\u003c/p>\n\u003cp>Yet, despite the fact they shared a subject at times, Christenberry said his relationship to Alabama was always different.\u003c/p>\n\u003cp>“His view was objective. My stance is very subjective,” he told the magazine. “The place is so much a part of me. I can’t escape it and have no desire to escape it. I continue to come to grips with it.”\u003c/p>\n\u003cp>And even as he won fellowships from the National Endowment for the Arts and the Guggenheim Memorial Foundation, Christenberry said the long-beating heart of his art remained the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t want my work to be thought of as maudlin or overly sentimental. It’s not. It’s a love affair — a lifetime of involvement with a place. The place is my muse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=William+Christenberry%2C+Artist+Whose+Muse+Was+Rural+Alabama%2C+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12418597/william-christenberry-artist-whose-muse-was-rural-alabama-dies-at-80",
"authors": [
"byline_arts_12418597"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12418598",
"label": "arts_137"
},
"arts_12400416": {
"type": "posts",
"id": "arts_12400416",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12400416",
"score": null,
"sort": [
1480200448000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1480200448,
"format": "image",
"title": "Pauline Oliveros, Pioneer of 'Deep Listening,' Dies at 84",
"headTitle": "Pauline Oliveros, Pioneer of ‘Deep Listening,’ Dies at 84 | KQED",
"content": "\u003cp>Pauline Oliveros, the composer, performer and teacher who developed a theory called “deep listening,” died in her sleep Thursday. She was 84.\u003c/p>\n\u003cp>News of her death was \u003ca href=\"https://www.instagram.com/p/BNPzc8IDAKZ/\" target=\"_blank\" rel=\"noopener\">first shared\u003c/a> by musician Claire Chase on Instagram on Friday. The \u003ca href=\"http://deeplistening.org/site/\" target=\"_blank\" rel=\"noopener\">Deep Listening Institute\u003c/a>, the organization Oliveros founded, confirmed her death to NPR on Saturday.\u003c/p>\n\u003cp>https://www.instagram.com/p/BNPzc8IDAKZ/\u003c/p>\n\u003cp>Oliveros is best known for her experimental approach to music and sound. “Hear with your ears, listen with your heart,” was her guiding principle, according to \u003ca href=\"https://ww2.kqed.org/spark/pauline-oliveros/\" target=\"_blank\" rel=\"noopener\">NPR member station KQED\u003c/a>. The station’s profile of Oliveros accompanied a 2012 \u003cem>Spark\u003c/em> \u003ca href=\"https://www.podcat.com/podcasts/5cbjsh-kqed-spark-art-video-podcast/person/59n4bu-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">podcast episode\u003c/a> about Oliveros’ life and work. It described her as an “Oakland-based teacher, composer, performer and musical ambassador” who was “deeply attuned to the meditative qualities of sound.”\u003c/p>\n\u003cp>In a \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_oliveros.html\" target=\"_blank\" rel=\"noopener\">2003 interview\u003c/a> with American Public Media’s \u003cem>American Mavericks\u003c/em>, she described how sound influenced her from an early age:\u003c/p>\n\u003cblockquote>\n\u003cp>“I lived in Houston, Texas. I was born in 1932 and grew up at a time when humans had less impact on the environment than they do today. I mean, now the frogs are leaving and vanishing. The frogs in my childhood could be heard loud and clear. Then of course, now so much is paved over with asphalt and cement that the cicadas are trapped and can’t get out. But you can still hear wonderful stereophonic cicada sounds in Houston as you walk or drive down the street. And all of those sounds were very important to me in childhood.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Starting in the 1960s, she “pioneered the electronic and improvisational mediums, creating theories of ‘sonic meditation’ and ‘deep listening,’ ” KQED wrote. She co-founded the San Francisco Tape Music Center, which later became \u003ca href=\"https://ww2.kqed.org/arts/2016/10/26/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college/\" target=\"_blank\" rel=\"noopener\">the Center for Contemporary Music at Mills College\u003c/a>. There, KQED said, she taught music for years and “practiced deep listening techniques with fellow musicians using her bandoneon (an accordion-like instrument).”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliveros’ website \u003ca href=\"http://deeplistening.org/site/content/about\" target=\"_blank\" rel=\"noopener\">defines\u003c/a> deep listening as a way to explore “the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive — of listening.” Part of this listening includes being aware of small sounds, including vibrations.\u003c/p>\n\u003cp>[contextly_sidebar id=”ZLfawufKVorLQOHoLdKIo7DHqAJ3J6oq”]\u003c/p>\n\u003cp>As Lucas Willard of \u003ca href=\"http://wamc.org/post/pioneering-composer-pauline-oliveros-dies\" target=\"_blank\" rel=\"noopener\">member station WAMC\u003c/a> wrote Saturday, Oliveros spoke to the station about the importance of “perceiving vibrations” in May. She said, “Even though the newborn has trillions of neurons, by the time they’re eighteen months old they’ve lost quite a bit, because they’re focusing on exclusive sounds of speech. So that sort of takes you away from the sensation of sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 2012 \u003cem>Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/music/tomserviceblog/2012/may/07/guide-contemporary-music-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> on Oliveros said her mantra was: “Listen to everything all the time and remind yourself when you are not listening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Pauline+Oliveros%2C+Pioneer+Of+%27Deep+Listening%2C%27+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 500,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705032387,
"excerpt": "Oliveros is best known for her experimental approach to music and sound. \"Hear with your ears, listen with your heart,\" was her guiding principle.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Oliveros is best known for her experimental approach to music and sound. "Hear with your ears, listen with your heart," was her guiding principle.",
"title": "Pauline Oliveros, Pioneer of 'Deep Listening,' Dies at 84 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pauline Oliveros, Pioneer of 'Deep Listening,' Dies at 84",
"datePublished": "2016-11-26T14:47:28-08:00",
"dateModified": "2024-01-11T20:06:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "pauline-oliveros-pioneer-of-deep-listening-dies-at-84",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=503424082&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laura Wagner",
"nprStoryDate": "Sat, 26 Nov 2016 12:53:00 -0500",
"nprLastModifiedDate": "Sat, 26 Nov 2016 13:18:48 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/11/26/503424082/pauline-oliveros-pioneer-of-deep-listening-dies-at-84?ft=nprml&f=503424082",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Jack Vartoogian/Getty Images",
"nprStoryId": "503424082",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 26 Nov 2016 13:18:00 -0500",
"path": "/arts/12400416/pauline-oliveros-pioneer-of-deep-listening-dies-at-84",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pauline Oliveros, the composer, performer and teacher who developed a theory called “deep listening,” died in her sleep Thursday. She was 84.\u003c/p>\n\u003cp>News of her death was \u003ca href=\"https://www.instagram.com/p/BNPzc8IDAKZ/\" target=\"_blank\" rel=\"noopener\">first shared\u003c/a> by musician Claire Chase on Instagram on Friday. The \u003ca href=\"http://deeplistening.org/site/\" target=\"_blank\" rel=\"noopener\">Deep Listening Institute\u003c/a>, the organization Oliveros founded, confirmed her death to NPR on Saturday.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BNPzc8IDAKZ/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliveros is best known for her experimental approach to music and sound. “Hear with your ears, listen with your heart,” was her guiding principle, according to \u003ca href=\"https://ww2.kqed.org/spark/pauline-oliveros/\" target=\"_blank\" rel=\"noopener\">NPR member station KQED\u003c/a>. The station’s profile of Oliveros accompanied a 2012 \u003cem>Spark\u003c/em> \u003ca href=\"https://www.podcat.com/podcasts/5cbjsh-kqed-spark-art-video-podcast/person/59n4bu-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">podcast episode\u003c/a> about Oliveros’ life and work. It described her as an “Oakland-based teacher, composer, performer and musical ambassador” who was “deeply attuned to the meditative qualities of sound.”\u003c/p>\n\u003cp>In a \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_oliveros.html\" target=\"_blank\" rel=\"noopener\">2003 interview\u003c/a> with American Public Media’s \u003cem>American Mavericks\u003c/em>, she described how sound influenced her from an early age:\u003c/p>\n\u003cblockquote>\n\u003cp>“I lived in Houston, Texas. I was born in 1932 and grew up at a time when humans had less impact on the environment than they do today. I mean, now the frogs are leaving and vanishing. The frogs in my childhood could be heard loud and clear. Then of course, now so much is paved over with asphalt and cement that the cicadas are trapped and can’t get out. But you can still hear wonderful stereophonic cicada sounds in Houston as you walk or drive down the street. And all of those sounds were very important to me in childhood.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Starting in the 1960s, she “pioneered the electronic and improvisational mediums, creating theories of ‘sonic meditation’ and ‘deep listening,’ ” KQED wrote. She co-founded the San Francisco Tape Music Center, which later became \u003ca href=\"https://ww2.kqed.org/arts/2016/10/26/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college/\" target=\"_blank\" rel=\"noopener\">the Center for Contemporary Music at Mills College\u003c/a>. There, KQED said, she taught music for years and “practiced deep listening techniques with fellow musicians using her bandoneon (an accordion-like instrument).”\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>Oliveros’ website \u003ca href=\"http://deeplistening.org/site/content/about\" target=\"_blank\" rel=\"noopener\">defines\u003c/a> deep listening as a way to explore “the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive — of listening.” Part of this listening includes being aware of small sounds, including vibrations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As Lucas Willard of \u003ca href=\"http://wamc.org/post/pioneering-composer-pauline-oliveros-dies\" target=\"_blank\" rel=\"noopener\">member station WAMC\u003c/a> wrote Saturday, Oliveros spoke to the station about the importance of “perceiving vibrations” in May. She said, “Even though the newborn has trillions of neurons, by the time they’re eighteen months old they’ve lost quite a bit, because they’re focusing on exclusive sounds of speech. So that sort of takes you away from the sensation of sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 2012 \u003cem>Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/music/tomserviceblog/2012/may/07/guide-contemporary-music-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> on Oliveros said her mantra was: “Listen to everything all the time and remind yourself when you are not listening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Pauline+Oliveros%2C+Pioneer+Of+%27Deep+Listening%2C%27+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12400416/pauline-oliveros-pioneer-of-deep-listening-dies-at-84",
"authors": [
"byline_arts_12400416"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12400417",
"label": "arts_137"
},
"arts_12392637": {
"type": "posts",
"id": "arts_12392637",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12392637",
"score": null,
"sort": [
1480086018000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1480086018,
"format": "standard",
"title": "Disney's 'Moana' Needs No Prince, Just The Land And Sea",
"headTitle": "Disney’s ‘Moana’ Needs No Prince, Just The Land And Sea | KQED",
"content": "\u003cp>You would be forgiven for getting so lost in the world of \u003cem>Moana\u003c/em> that the story itself becomes merely a distant hum. Disney’s newest animated extravaganza takes as its inspiration the crystal blue waves and lush green island mountains of Polynesia, making the landscape into a 3-D storybook. The computer animation, so much crisper and more vibrant than the all-white X-Y planes of \u003cem>Frozen\u003c/em>, turns the film into a celebration of (bio)diversity. And not a moment too soon for a world that keeps needing to be reminded that this is all worth taking some effort to save.\u003c/p>\n\u003cp>Part of getting lost in \u003cem>Moana\u003c/em>‘s world is honestly appreciating the culture at its center, as the film may be Disney’s most committed effort yet to accurately depict the lifestyle of the setting its animators have parachuted into. The studio recruited Pacific Islander talent and researchers, which it deemed the “\u003ca href=\"http://www.vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia\">Oceanic Trust\u003c/a>,” to aid in its depiction of the region. So characters break into hula or war dances without needing to tell us what they’re doing, and their natural, non-stagey interactions let us feel comfortable among them. The film achieves what the best Disney animated features do: a sense of place that is refined and specific.\u003c/p>\n\u003cp>https://youtu.be/LKFuXETZUsI\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> die-hards likely know Lin-Manuel Miranda co-wrote the original songs for the film with composer Mark Mancina, but the collaborator of arguably more importance is Opetaia Foa’i, the Samoa-born frontman to Oceanic fusion band Te Vaka. Foa’i’s influence is the one felt harder on the resulting sound, which mixes ecstatic marching bass drums with the swooning melodies of tribal chants. When he trades vocals with Miranda to sing about exploring far-reaching territories on the rousing “We Know the Way,” it’s enough to make all budding wayfarers, young and old, grab a telescope and set sail.\u003c/p>\n\u003cp>Luckily, we have a surrogate to do all that adventuring for us, in the spunky preteen Moana (newcomer Auli’i Cravalho), the heir to her father’s chiefdom on the fictional Te Fiti, a remote, isolationist South Pacific island. (She resents the title “princess,” although one hopes she never stumbles across her own face in the Disney Princess marketing materials.) Moana dreams of setting sail for parts unknown, but dad (Temuera Morrison when speaking, and Miranda’s fellow \u003cem>Hamilton\u003c/em> hero Christopher Jackson when singing) keeps dragging her back to parts known, reminding her of her duties to watch over the island tribe and ensure its future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the ocean calls: “The water is mischievous / I like how it misbehaves,” sings Moana’s feisty grandma (Rachel House), who, with that lovely line, pushes her granddaughter to venture beyond her island’s reef once the lackluster coconut harvest and fish depletion jeopardize the people’s way of life. In fact, the ocean is literally beckoning Moana, as it’s been anthropomorphized like the Disney sidekicks of yore, shooting jets of water for high-fives or to express annoyance.\u003c/p>\n\u003cp>But it’s hard to imbue a wave, no matter how mischievous, with as much personality as, say, Dopey. So we’re grateful once the film introduces a \u003cem>real\u003c/em> foil, the trickster demigod Maui (voiced with puffed-up chest by Dwayne “The Rock” Johnson, \u003cem>People\u003c/em> magazine’s current Sexiest Demigod Alive). A mythical figure in Polynesian mythology, the Maui in this film has the build of a football player and the braggadocio of … well, a football player. He’s a shapeshifter who stole a trinket from Te Fiti’s island god, thus dooming Moana’s people; the girl’s assignment is to drag the headstrong yet thin-skinned Maui back to right his wrong, tattoos and all (his body is covered in them, and they have minds of their own).\u003c/p>\n\u003cp>The story unfolds more or less in the same manner as Disney’s other lone-journey films, like \u003cem>The Lion King\u003c/em> and \u003cem>Hercules\u003c/em>, and the soundtrack provides an easy road map: the introduction song, the yearning song, the goofy-personality song. (We can only hope \u003cem>Moana\u003c/em>‘s numbers will peacefully fade onto Greatest Hits soundtracks before they turn on us like “Let It Go.”) Ron Clements and John Musker, whose previous features include \u003cem>The Little Mermaid\u003c/em> and \u003cem>The Princess and the Frog\u003c/em>, were the driving forces behind \u003cem>Moana\u003c/em>‘s vision. But they’re still two of four credited directors and two of eight credited writers, like the committee-driven nature of all in-house Mouse House productions. Often that approach works, as in the excellent \u003cem>Zootopia\u003c/em> earlier this year. But this story in particular seemed to demand a more idiosyncratic touch. Jemaine Clement as a giant crab who sings a Bowie-esque number about glitter is fun, but did it fit here?\u003c/p>\n\u003cp>Still, with all those names, the matter-of-fact way the film gets to treat its female protagonist is especially heartening. Her adversaries doubt her not because of her gender, but merely because of her youth; and she doesn’t have or need a love interest, a fact that may not even register with you until after the film has ended. Well, that’s not entirely true: Her love interest is the land and sea and its people, and anyone who sees \u003cem>Moana \u003c/em>will become smitten, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A note on the preshow: \u003c/strong>“Inner Workings” is a suspiciously \u003cem>Inside Out\u003c/em>-like short about an office drone’s warring body parts. An overly cautious brain, situated inside the man’s boxy head, prevents his impulsive heart from enjoying all of life’s wonders, until an epiphany forces it to rethink its priorities. The film can’t measure up to the visual or emotional wonder of Disney’s similarly themed 2012 short “Paperman,” but director Leonard Matsuda still finds fascinating things to do with the animation form, particularly in the way he plays with geometric character models.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1034,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705032389,
"excerpt": "Disney's new animated film makes its most honest effort yet at appreciating the culture it depicts.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Disney's new animated film makes its most honest effort yet at appreciating the culture it depicts.",
"title": "Disney's 'Moana' Needs No Prince, Just The Land And Sea | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Disney's 'Moana' Needs No Prince, Just The Land And Sea",
"datePublished": "2016-11-25T07:00:18-08:00",
"dateModified": "2024-01-11T20:06:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "disneys-moana-needs-no-prince-just-the-land-and-sea",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=503039259&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Wed, 23 Nov 2016 17:00:11 -0500",
"nprLastModifiedDate": "Wed, 23 Nov 2016 17:00:11 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/11/23/503039259/disneys-moana-needs-no-prince-just-the-land-and-sea?ft=nprml&f=503039259",
"nprImageAgency": "Walt Disney Studios",
"nprStoryId": "503039259",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 23 Nov 2016 17:00:00 -0500",
"path": "/arts/12392637/disneys-moana-needs-no-prince-just-the-land-and-sea",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You would be forgiven for getting so lost in the world of \u003cem>Moana\u003c/em> that the story itself becomes merely a distant hum. Disney’s newest animated extravaganza takes as its inspiration the crystal blue waves and lush green island mountains of Polynesia, making the landscape into a 3-D storybook. The computer animation, so much crisper and more vibrant than the all-white X-Y planes of \u003cem>Frozen\u003c/em>, turns the film into a celebration of (bio)diversity. And not a moment too soon for a world that keeps needing to be reminded that this is all worth taking some effort to save.\u003c/p>\n\u003cp>Part of getting lost in \u003cem>Moana\u003c/em>‘s world is honestly appreciating the culture at its center, as the film may be Disney’s most committed effort yet to accurately depict the lifestyle of the setting its animators have parachuted into. The studio recruited Pacific Islander talent and researchers, which it deemed the “\u003ca href=\"http://www.vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia\">Oceanic Trust\u003c/a>,” to aid in its depiction of the region. So characters break into hula or war dances without needing to tell us what they’re doing, and their natural, non-stagey interactions let us feel comfortable among them. The film achieves what the best Disney animated features do: a sense of place that is refined and specific.\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/LKFuXETZUsI'\n title='//www.youtube.com/embed/LKFuXETZUsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Hamilton\u003c/em> die-hards likely know Lin-Manuel Miranda co-wrote the original songs for the film with composer Mark Mancina, but the collaborator of arguably more importance is Opetaia Foa’i, the Samoa-born frontman to Oceanic fusion band Te Vaka. Foa’i’s influence is the one felt harder on the resulting sound, which mixes ecstatic marching bass drums with the swooning melodies of tribal chants. When he trades vocals with Miranda to sing about exploring far-reaching territories on the rousing “We Know the Way,” it’s enough to make all budding wayfarers, young and old, grab a telescope and set sail.\u003c/p>\n\u003cp>Luckily, we have a surrogate to do all that adventuring for us, in the spunky preteen Moana (newcomer Auli’i Cravalho), the heir to her father’s chiefdom on the fictional Te Fiti, a remote, isolationist South Pacific island. (She resents the title “princess,” although one hopes she never stumbles across her own face in the Disney Princess marketing materials.) Moana dreams of setting sail for parts unknown, but dad (Temuera Morrison when speaking, and Miranda’s fellow \u003cem>Hamilton\u003c/em> hero Christopher Jackson when singing) keeps dragging her back to parts known, reminding her of her duties to watch over the island tribe and ensure its future.\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>Still, the ocean calls: “The water is mischievous / I like how it misbehaves,” sings Moana’s feisty grandma (Rachel House), who, with that lovely line, pushes her granddaughter to venture beyond her island’s reef once the lackluster coconut harvest and fish depletion jeopardize the people’s way of life. In fact, the ocean is literally beckoning Moana, as it’s been anthropomorphized like the Disney sidekicks of yore, shooting jets of water for high-fives or to express annoyance.\u003c/p>\n\u003cp>But it’s hard to imbue a wave, no matter how mischievous, with as much personality as, say, Dopey. So we’re grateful once the film introduces a \u003cem>real\u003c/em> foil, the trickster demigod Maui (voiced with puffed-up chest by Dwayne “The Rock” Johnson, \u003cem>People\u003c/em> magazine’s current Sexiest Demigod Alive). A mythical figure in Polynesian mythology, the Maui in this film has the build of a football player and the braggadocio of … well, a football player. He’s a shapeshifter who stole a trinket from Te Fiti’s island god, thus dooming Moana’s people; the girl’s assignment is to drag the headstrong yet thin-skinned Maui back to right his wrong, tattoos and all (his body is covered in them, and they have minds of their own).\u003c/p>\n\u003cp>The story unfolds more or less in the same manner as Disney’s other lone-journey films, like \u003cem>The Lion King\u003c/em> and \u003cem>Hercules\u003c/em>, and the soundtrack provides an easy road map: the introduction song, the yearning song, the goofy-personality song. (We can only hope \u003cem>Moana\u003c/em>‘s numbers will peacefully fade onto Greatest Hits soundtracks before they turn on us like “Let It Go.”) Ron Clements and John Musker, whose previous features include \u003cem>The Little Mermaid\u003c/em> and \u003cem>The Princess and the Frog\u003c/em>, were the driving forces behind \u003cem>Moana\u003c/em>‘s vision. But they’re still two of four credited directors and two of eight credited writers, like the committee-driven nature of all in-house Mouse House productions. Often that approach works, as in the excellent \u003cem>Zootopia\u003c/em> earlier this year. But this story in particular seemed to demand a more idiosyncratic touch. Jemaine Clement as a giant crab who sings a Bowie-esque number about glitter is fun, but did it fit here?\u003c/p>\n\u003cp>Still, with all those names, the matter-of-fact way the film gets to treat its female protagonist is especially heartening. Her adversaries doubt her not because of her gender, but merely because of her youth; and she doesn’t have or need a love interest, a fact that may not even register with you until after the film has ended. Well, that’s not entirely true: Her love interest is the land and sea and its people, and anyone who sees \u003cem>Moana \u003c/em>will become smitten, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A note on the preshow: \u003c/strong>“Inner Workings” is a suspiciously \u003cem>Inside Out\u003c/em>-like short about an office drone’s warring body parts. An overly cautious brain, situated inside the man’s boxy head, prevents his impulsive heart from enjoying all of life’s wonders, until an epiphany forces it to rethink its priorities. The film can’t measure up to the visual or emotional wonder of Disney’s similarly themed 2012 short “Paperman,” but director Leonard Matsuda still finds fascinating things to do with the animation form, particularly in the way he plays with geometric character models.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12392637/disneys-moana-needs-no-prince-just-the-land-and-sea",
"authors": [
"byline_arts_12392637"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12392640",
"label": "arts_137"
},
"arts_12364614": {
"type": "posts",
"id": "arts_12364614",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12364614",
"score": null,
"sort": [
1479571244000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1479571244,
"format": "image",
"title": "The Death of a Disco Host",
"headTitle": "The Death of a Disco Host | KQED",
"content": "\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1436,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705032439,
"excerpt": "Remembering David Mancuso — a social philosopher, a sound guru, a psychedelic humanist and a man who knew which records could move you.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Remembering David Mancuso — a social philosopher, a sound guru, a psychedelic humanist and a man who knew which records could move you.",
"title": "The Death of a Disco Host | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Death of a Disco Host",
"datePublished": "2016-11-19T08:00:44-08:00",
"dateModified": "2024-01-11T20:07:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-death-of-a-disco-host",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=502450994&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Piotr Orlov",
"nprStoryDate": "Fri, 18 Nov 2016 08:00:00 -0500",
"nprLastModifiedDate": "Fri, 18 Nov 2016 09:40:26 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2016/11/18/502450994/the-death-of-a-disco-host?ft=nprml&f=502450994",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Allan Tannenbaum",
"nprStoryId": "502450994",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 18 Nov 2016 09:40:00 -0500",
"path": "/arts/12364614/the-death-of-a-disco-host",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\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>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12364614/the-death-of-a-disco-host",
"authors": [
"byline_arts_12364614"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12364615",
"label": "arts_137"
},
"arts_12349827": {
"type": "posts",
"id": "arts_12349827",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12349827",
"score": null,
"sort": [
1479477645000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1479477645,
"format": "standard",
"title": "Paul Verhoeven's 'Elle' is a Brutal, Elegant, Pitch-Black Comedy",
"headTitle": "Paul Verhoeven’s ‘Elle’ is a Brutal, Elegant, Pitch-Black Comedy | KQED",
"content": "\u003cp>At the fancy Christmas dinner she hosts in her posh Paris home, a stylish entrepreneur named Michèle, played to impassive perfection by Isabelle Huppert, verbally abuses her heavily Botoxed elderly mother and her mother’s very-much-younger consort. She inflicts injury on the very-much-younger girlfriend of her former husband. She pokes fun at her ineffectual son, his partner, and their baby. She takes a covert swipe at her pretty Christian neighbor while initiating a game of footsie with that neighbor’s handsome husband, a broker. By way of dessert she indulges, without noticeable pleasure, in some furtive post-prandial sex with her best friend and partner’s husband. ‘Tis the season!\u003c/p>\n\u003cp>I should add that by the time this jolly crew has convened halfway through Paul Verhoeven’s sardonic thriller \u003cem>Elle\u003c/em>, Michèle has been violently raped several times on her living-room floor by a masked intruder clad head-to-toe in black leather or rubber or some other appealing fabric from the sado-masochist runway. The graphically detailed sexual assaults function as little more than a hiccup in Michèle’s busy life as the CEO of a raunchy videogame company that appears to be staffed by callow twelve-year-olds. Oh, and one of these young blades has circulated a creatively pornographic video of Michèle being violated by a monster. I wouldn’t say she doesn’t turn a hair, but Michèle goes about her business while wreaking malicious damage on those who get in her way, and on plenty who don’t.\u003c/p>\n\u003cp>https://youtu.be/gM96ne-XiH0\u003c/p>\n\u003cp>If you saw Huppert in Michael Haneke’s 2001 erotic thriller \u003cem>The Piano Teache\u003c/em>r, you’ll know that she can serve up steely and kinky pretty much on demand. Behind her sustained deadpan in \u003cem>Elle\u003c/em> and the misleading shades of beige in which she’s clad lurks a barely contained ironist and black comedian channeling, with quiet glee, the bracing nihilism of the man who made \u003cem>Robocop\u003c/em>, \u003cem>Basic Instinct\u003c/em> and \u003cem>Showgirls\u003c/em>. Never was such flat affect delivered through such expressive eyes.\u003c/p>\n\u003cp>How you feel about this brutal, elegantly crafted film will depend in part on whether you regard nihilism as a moral/political philosophy or as a film language that gets us to rethink the tired pieties that appeal to our vanity. A provocateur to his core, Verhoeven wades breezily into hot-potato territory, all the while refusing moral judgment. This hasn’t always worked: In \u003cem>Black Book\u003c/em> (2006) he comes \u003cem>this\u003c/em> close to suggesting that, ethically speaking, there was little room between the Nazis and the Dutch resistance. \u003cem>Elle\u003c/em> is a far less blunt instrument, in part because the movie is cunningly ambiguous about what drives the strange woman at its center. The English-language screenplay for \u003cem>Elle\u003c/em>, which Verhoeven had hoped to make in the United States, is adapted by David Birke from a French novel written under the influence of the mass murders committed by Norwegian Anders Behring Breivik. Faux news footage shows Michèle at age ten, staring blankly into the camera at the scene when her now incarcerated father murdered a slew of neighbors who had asked him not to make the sign of the cross on their children’s foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12349839\" class=\"wp-caption aligncenter\" style=\"max-width: 1269px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2crop.jpg\" alt=\"Still from 'Elle.'\" width=\"1269\" height=\"842\" class=\"size-full wp-image-12349839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-520x345.jpg 520w\" sizes=\"(max-width: 1269px) 100vw, 1269px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Elle.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she’s a successful, ruthless businesswoman who presides over a ludicrously dysfunctional ensemble of family, friends and employees whose loyalty to her is about as dependable as hers to them. Which at the very least brings enjoyably double-edged performances by Charles Berling as Michèle’s hapless husband, Anne Consigny as her best friend and business partner, Judith Magre as her mother, and Laurent Lafitte as her intriguing, handsome neighbor. There’s not a soul in \u003cem>Elle\u003c/em> who’s above cheating and lying as needed, unless you count the lone committed Christian (Virginie Efira). And even she, it turns out, knows more than her blue saucer eyes let on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However brutal Michèle’s past, Verhoeven won’t allow us to jump to causal conclusions about her asocial behavior or the cat-and-mouse game she plays with her attacker. If you’re looking for it, there’s ample fodder in Michèle’s venal milieu for social commentary about the nasty post-millennial world we’ve created for ourselves. Humanity doesn’t much impress Verhoeven, but though I could wish he didn’t enjoy shoving the multiple rapes in our faces so much, he’s not endorsing rape and I don’t believe he’s anti-feminist. After all, Michèle’s in charge, even if the director won’t tip his hand about whether she’s a plucky survivor, a complete psycho, or just a woman so blitzed by her childhood that she responds to almost every turn of the screw, her rape included, with the same unruffled calm. Only the sick games she plays with her aggressor seem to get her worked up. “Why did you do it?” she asks him when, fittingly, they end up duking it out in the basement of her house. “It was necessary,” he answers. Over to you.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 909,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705032445,
"excerpt": "Director Verhoeven gleefully courts controversy with this bitterly sardonic film about the aftermath of a woman's violent rape.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Verhoeven gleefully courts controversy with this bitterly sardonic film about the aftermath of a woman's violent rape.",
"title": "Paul Verhoeven's 'Elle' is a Brutal, Elegant, Pitch-Black Comedy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Paul Verhoeven's 'Elle' is a Brutal, Elegant, Pitch-Black Comedy",
"datePublished": "2016-11-18T06:00:45-08:00",
"dateModified": "2024-01-11T20:07:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "paul-verhoevens-elle-is-a-brutal-elegant-pitch-black-comedy",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=500724480&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 10 Nov 2016 17:00:20 -0500",
"nprLastModifiedDate": "Thu, 10 Nov 2016 17:00:20 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/11/10/500724480/paul-verhoevens-elle-is-a-brutal-elegant-pitch-black-comedy?ft=nprml&f=500724480",
"nprImageAgency": "Sony Pictures Classics",
"nprStoryId": "500724480",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Nov 2016 17:00:00 -0500",
"path": "/arts/12349827/paul-verhoevens-elle-is-a-brutal-elegant-pitch-black-comedy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the fancy Christmas dinner she hosts in her posh Paris home, a stylish entrepreneur named Michèle, played to impassive perfection by Isabelle Huppert, verbally abuses her heavily Botoxed elderly mother and her mother’s very-much-younger consort. She inflicts injury on the very-much-younger girlfriend of her former husband. She pokes fun at her ineffectual son, his partner, and their baby. She takes a covert swipe at her pretty Christian neighbor while initiating a game of footsie with that neighbor’s handsome husband, a broker. By way of dessert she indulges, without noticeable pleasure, in some furtive post-prandial sex with her best friend and partner’s husband. ‘Tis the season!\u003c/p>\n\u003cp>I should add that by the time this jolly crew has convened halfway through Paul Verhoeven’s sardonic thriller \u003cem>Elle\u003c/em>, Michèle has been violently raped several times on her living-room floor by a masked intruder clad head-to-toe in black leather or rubber or some other appealing fabric from the sado-masochist runway. The graphically detailed sexual assaults function as little more than a hiccup in Michèle’s busy life as the CEO of a raunchy videogame company that appears to be staffed by callow twelve-year-olds. Oh, and one of these young blades has circulated a creatively pornographic video of Michèle being violated by a monster. I wouldn’t say she doesn’t turn a hair, but Michèle goes about her business while wreaking malicious damage on those who get in her way, and on plenty who don’t.\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/gM96ne-XiH0'\n title='//www.youtube.com/embed/gM96ne-XiH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you saw Huppert in Michael Haneke’s 2001 erotic thriller \u003cem>The Piano Teache\u003c/em>r, you’ll know that she can serve up steely and kinky pretty much on demand. Behind her sustained deadpan in \u003cem>Elle\u003c/em> and the misleading shades of beige in which she’s clad lurks a barely contained ironist and black comedian channeling, with quiet glee, the bracing nihilism of the man who made \u003cem>Robocop\u003c/em>, \u003cem>Basic Instinct\u003c/em> and \u003cem>Showgirls\u003c/em>. Never was such flat affect delivered through such expressive eyes.\u003c/p>\n\u003cp>How you feel about this brutal, elegantly crafted film will depend in part on whether you regard nihilism as a moral/political philosophy or as a film language that gets us to rethink the tired pieties that appeal to our vanity. A provocateur to his core, Verhoeven wades breezily into hot-potato territory, all the while refusing moral judgment. This hasn’t always worked: In \u003cem>Black Book\u003c/em> (2006) he comes \u003cem>this\u003c/em> close to suggesting that, ethically speaking, there was little room between the Nazis and the Dutch resistance. \u003cem>Elle\u003c/em> is a far less blunt instrument, in part because the movie is cunningly ambiguous about what drives the strange woman at its center. The English-language screenplay for \u003cem>Elle\u003c/em>, which Verhoeven had hoped to make in the United States, is adapted by David Birke from a French novel written under the influence of the mass murders committed by Norwegian Anders Behring Breivik. Faux news footage shows Michèle at age ten, staring blankly into the camera at the scene when her now incarcerated father murdered a slew of neighbors who had asked him not to make the sign of the cross on their children’s foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12349839\" class=\"wp-caption aligncenter\" style=\"max-width: 1269px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2crop.jpg\" alt=\"Still from 'Elle.'\" width=\"1269\" height=\"842\" class=\"size-full wp-image-12349839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-520x345.jpg 520w\" sizes=\"(max-width: 1269px) 100vw, 1269px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Elle.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she’s a successful, ruthless businesswoman who presides over a ludicrously dysfunctional ensemble of family, friends and employees whose loyalty to her is about as dependable as hers to them. Which at the very least brings enjoyably double-edged performances by Charles Berling as Michèle’s hapless husband, Anne Consigny as her best friend and business partner, Judith Magre as her mother, and Laurent Lafitte as her intriguing, handsome neighbor. There’s not a soul in \u003cem>Elle\u003c/em> who’s above cheating and lying as needed, unless you count the lone committed Christian (Virginie Efira). And even she, it turns out, knows more than her blue saucer eyes let on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However brutal Michèle’s past, Verhoeven won’t allow us to jump to causal conclusions about her asocial behavior or the cat-and-mouse game she plays with her attacker. If you’re looking for it, there’s ample fodder in Michèle’s venal milieu for social commentary about the nasty post-millennial world we’ve created for ourselves. Humanity doesn’t much impress Verhoeven, but though I could wish he didn’t enjoy shoving the multiple rapes in our faces so much, he’s not endorsing rape and I don’t believe he’s anti-feminist. After all, Michèle’s in charge, even if the director won’t tip his hand about whether she’s a plucky survivor, a complete psycho, or just a woman so blitzed by her childhood that she responds to almost every turn of the screw, her rape included, with the same unruffled calm. Only the sick games she plays with her aggressor seem to get her worked up. “Why did you do it?” she asks him when, fittingly, they end up duking it out in the basement of her house. “It was necessary,” he answers. Over to you.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12349827/paul-verhoevens-elle-is-a-brutal-elegant-pitch-black-comedy",
"authors": [
"byline_arts_12349827"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12349824",
"label": "arts_137"
},
"arts_12344688": {
"type": "posts",
"id": "arts_12344688",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12344688",
"score": null,
"sort": [
1479151329000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1479151329,
"format": "standard",
"title": "Leon Russell Dies; Southern Rock Legend was 74",
"headTitle": "Leon Russell Dies; Southern Rock Legend was 74 | KQED",
"content": "\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=37dw2r45Xzg\u003c/p>\n\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 560,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705032503,
"excerpt": "A native of Oklahoma, Russell's talents gave him the unique ability to span country and gospel, blues and rock.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A native of Oklahoma, Russell's talents gave him the unique ability to span country and gospel, blues and rock.",
"title": "Leon Russell Dies; Southern Rock Legend was 74 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Leon Russell Dies; Southern Rock Legend was 74",
"datePublished": "2016-11-14T11:22:09-08:00",
"dateModified": "2024-01-11T20:08:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "leon-russell-dies-southern-rock-legend-was-74",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=501911289&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Sun, 13 Nov 2016 10:09:00 -0500",
"nprLastModifiedDate": "Mon, 14 Nov 2016 09:41:13 -0500",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/11/13/501911289/leon-russell-dies-southern-rock-legend-was-74?ft=nprml&f=501911289",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2016/11/20161114_me_russell_leon.mp3?orgId=1&topicId=1106&d=230&story=501911289&ft=nprml&f=501911289",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1501998939-4bb71d.m3u?orgId=1&topicId=1106&d=230&story=501911289&ft=nprml&f=501911289",
"nprStoryId": "501911289",
"nprByline": "Bill Chappell",
"sticky": false,
"nprImageCredit": "Frazer Harrison",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 14 Nov 2016 09:41:00 -0500",
"path": "/arts/12344688/leon-russell-dies-southern-rock-legend-was-74",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2016/11/20161114_me_russell_leon.mp3?orgId=1&topicId=1106&d=230&story=501911289&ft=nprml&f=501911289",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\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>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful music.\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/37dw2r45Xzg'\n title='//www.youtube.com/embed/37dw2r45Xzg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12344688/leon-russell-dies-southern-rock-legend-was-74",
"authors": [
"byline_arts_12344688"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12344689",
"label": "arts_137"
},
"arts_12333305": {
"type": "posts",
"id": "arts_12333305",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12333305",
"score": null,
"sort": [
1478966413000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1478966413,
"format": "image",
"title": "'We've Always Had a Seat at the Table': Solange on Conversations That Heal",
"headTitle": "‘We’ve Always Had a Seat at the Table’: Solange on Conversations That Heal | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/174513704/solange\" target=\"_blank\" rel=\"noopener\">Solange Knowles\u003c/a>‘ newest album, \u003cem>A Seat At The Table\u003c/em>, is her most commercially successful yet — it hit No. 1 on the \u003cem>Billboard\u003c/em> charts last month. It’s also her most political. On the record, Solange explores what it means to be black in America today. The songs in this album celebrate black culture, confront prejudice and explore the trauma of witnessing black people killed.\u003c/p>\n\u003cp>This is Solange’s most personal work yet, too. The album includes interviews she conducted with her parents, and she wrote most of the lyrics in the town of New Iberia, La., where her family has roots. “I wanted to reclaim that space,” she says. “I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them.”\u003c/p>\n\u003cp>Solange shared stories about her family and about the healing process of making \u003cem>A Seat At The Table \u003c/em>with NPR’s Ari Shapiro. Read an edited transcript of their conversation below; hear an abridged version at the audio link.\u003c/p>\n\u003cp>\u003cstrong>Ari Shapiro: This album seems to reach into a lot of history: There’s personal history, there’s family history, there’s national history. And you wrote some of it in a place in Louisiana called New Iberia, which sort of taps into all these threads. Tell me about this place.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Solange Knowles:\u003c/strong> So, New Iberia is where my maternal grandparents are from. And they built their home there, their family life there, they were really grounded there. And there was a series of really, really awful events, to where essentially, in the middle of the night, they got pushed out of town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What was that about?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s a really long story, but my grandfather was actually a miner, and there was a big explosion that happened; a lot of people really tragically died. They basically just kind of left him for dead, assuming that he had died, because most people did die. My family all got together and said, you know, “We will not just settle for you telling us that he’s passed” — and believe it or not, my mother’s cousins went in the middle of the night and they went and saved him.\u003c/p>\n\u003cp>\u003cstrong>They dug him out.\u003c/strong>\u003c/p>\n\u003cp>They did. And so, there were obviously a lot of people embarrassed by the situation – it was kind of a town scandal, and it became a little bit of a race war, and my grandparents essentially left in the middle of the night … And they fled to Galveston and they set roots there.\u003c/p>\n\u003cp>\u003cstrong>In Texas.\u003c/strong>\u003c/p>\n\u003cp>In Texas. So the album has a lot of layers, but one of those, and one of the important reasons that I wanted to write the lyrics specifically there, is because I wanted to reclaim that space. I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them and honored their strength and their resilience and their fight — basically say, “No one’s pushing me out of town. No one is going to stop me from telling my story, our story.” And there was a lot of power that I found in that: It felt really good, and it also felt really good to just connect to my lineage. New Iberia has a lot of rich culture and Creole and Cajun culture. Growing up in Houston, I would travel to Louisiana a lot, but I never really got to experience that at the core of it. And it was something really great about just shutting myself off from the outside world. I actually wrote the album in a house that was on a sugar plantation, and a lot of my family were actually caners. So there were just a lot a lot of links in that way that really, really empowered me. And it felt great to be there and to have the freedom now to again, just reclaim the space and do it in that way.\u003c/p>\n\u003cp>\u003cstrong>What is New Iberia like today? And how were you welcomed there when you returned? Did people know the story that had driven your grandparents away from there?\u003c/strong>\u003c/p>\n\u003cp>You know, what’s wild is I actually went there with the intention of connecting with all of this family — and my family actually still owns a cemetery there, which I did visit a couple of times. But I actually got really, really lost in the isolation there, which I think really helped me to write this record in the most true way and honest way. I think that if I would have just really immersed myself too much, then I might have gotten distracted.\u003c/p>\n\u003cp>Because it really was a fun time, the times that I went out. There’s still a lot of traditional zydeco and Cajun music. I actually went to a place in Mamou, Louisiana, that was not far from New Iberia that actually still has a radio show that’s been running, I think, for 30 years. It starts at, I believe, six in the morning, and it’s live in a club. And you go there around eight in the morning and it’s full-on Cajun dancing, and it’s still done in French. All of the music is still performed in French. And so I did that, but I also went to a lot of zydeco clubs — I had experience growing up going to a lot of zydecos. And that was really, really, really fun. And then also, obviously the food was — killing me, it was so good. So at a certain point, I had to just say, “I need to keep my ass in the house for four days and write this bridge that I’ve been stuck on for the last week.”\u003c/p>\n\u003cp>\u003cstrong>I feel like people listening to you describe that might expect to hear a washboard and a harmonica on this album. And there is none of that. There is no zydeco. Where do you hear the sounds of the place — even if it’s not in a literal way — where do you hear on this album something that wouldn’t have come out if you hadn’t been in New Iberia?\u003c/strong>\u003c/p>\n\u003cp>There are a lot of aspects of the album that draw so much from Louisiana culture, specifically the horn sounds. I think that there was a certain sense of triumph and glory and radiance and also regality that I wanted to convey with the horn sounds. And so much of that comes from me living in New Orleans and Louisiana and just brass bands and those brass sounds being sort of just the backdrop of the city. And then obviously with Master P narrating the album, I think he tells that through the lens very much so as a New Orleans self-made black man from the South. And I think overall the album feels very, very Southern in my storytelling, I feel.\u003c/p>\n\u003cp>\u003cstrong>What makes the storytelling Southern, especially?\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S0qrinhNnOM\u003c/p>\n\u003cp>Well, I think there’s a certain sense of growing up in the South, I feel like storytelling is obviously universal — you know, we all share that. But there’s something about the way that Southern men and women and aunties and uncles take their time with telling stories. And I think sometimes it becomes a matter of not caring how long it takes or how much you reiterate the message. I got concerned a lot of times that some of my lyrics and themes felt a little repetitious. But I think that that’s something I grew up hearing so much from all of my family — the same story told in a thousand different ways.\u003c/p>\n\u003cp>\u003cstrong>Repetitious in what way?\u003c/strong>\u003c/p>\n\u003cp>Well, I think that I was concerned initially that maybe it wasn’t as expansive as I wanted it to be initially — I had all of these feelings and thoughts that I wanted to work out while creating the album, and sometimes, you know, I would be working on \u003ca href=\"https://www.youtube.com/watch?v=BTqNemB6mio\" target=\"_blank\" rel=\"noopener\">“Mad”\u003c/a> and then I’d be working on “Don’t Touch My Hair” and I’d feel like — wait, are these the same messages? But that was my truth at the time, and that was what I felt, and so it was really about figuring out the different nuances in the way of telling those.\u003c/p>\n\u003cp>\u003cstrong>I want to continue this thought about the place of New Iberia and the history that you’re wrestling with while you’re also wrestling with the present-day reality of black people being shot in the street and protest and the sense that maybe things have not changed as much since your grandparents’ time as you might have hoped. When you got to New Iberia, did you know the story of exactly what had happened to your grandparents or did you learn any of that while you were there?\u003c/strong>\u003c/p>\n\u003cp>I knew a little bit of it … And when I interviewed my parents for this album, as you hear them on “Don’t Touch My Hair” and “Mad,” that was actually about a three-hour interview, both for just myself and me really wanting to close all of these chapters. I did it at the very end of the album.\u003c/p>\n\u003cp>\u003cstrong>Wow, really?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>And did you know at the time that you were going to include excerpts of these interviews in the album?\u003c/strong>\u003c/p>\n\u003cp>It was an idea that I had. I didn’t know what would come out of the interviews.\u003c/p>\n\u003cp>\u003cstrong>And was it only at that point that you learned the full story of what had happened to your grandparents?\u003c/strong>\u003c/p>\n\u003cp>Yes, yes. So it was really, really, really powerful. I think having been there for so long and, you know, really getting down to the nitty gritty. It was a really, really long — and, even me telling it now, I shortened it and left out some of the details — but it was really shocking.\u003c/p>\n\u003cp>\u003cstrong>You know, I guess one thing that I wonder, given what your grandparents went through, given that your father integrated his school and got all kinds of abuse in the process, given that you have experienced acts of racism yourself and now you have a son — do you feel like this is a cycle from generation to generation that is doomed to continue repeating?\u003c/strong>\u003c/p>\n\u003cp>I think that while making the album, I actually gave a great deal of thought to how much responsibility I had to express optimism and hope. And ultimately, I decided that me expressing optimism and me expressing hope came from telling the truth — that gave me optimism that I was able to be explicitly honest about my feelings. And for it to have the reception that it’s had, and for me to have people share with me that they listen to the album first thing when they wake up to empower them to get through their day and the micro-aggressions that we experience and the healing that, you know, they’re expressing that they’re feeling — that is the optimism. I think the optimism is in having the conversation and being able to have the conversation now. And people being open to having that conversation.\u003c/p>\n\u003cp>\u003cstrong>One of the tracks is called \u003ca href=\"https://www.youtube.com/watch?v=Njp2vaBzgto\" target=\"_blank\" rel=\"noopener\">“F.U.B.U.,”\u003c/a> which stands for “For us by us.” I read that your working title for the song was “Be Very Afraid.” When you talk about choosing optimism over pessimism, “For us by us” versus “Be very afraid” is a pretty stark contrast.\u003c/strong>\u003c/p>\n\u003cp>It is, it is. And to be honest, “F.U.B.U.” was the song I had the hardest time writing in terms of conceptualizing. Before, that song specifically was about people being afraid of us and fear being at the root of so many murders from policemen, so many murders that we have constantly seen in the past few years. And it was really, really hard for me to put that in a four-minute song. And I kept trying, and I kept trying, and it hurt so much and it was so painful for me and it was so sad. And one day, I put on the track again, probably the fifth or sixth variation of the song, and I swear it just felt like God speaking through me. I wrote it probably in six minutes. And it was just one of those moments where it really did not feel like it was just me.\u003c/p>\n\u003cp>And that is where I drew “For us by us.” Because not only did I mean it, you know, in the obvious way. But it really was written by us. These are incidents that all of my friends go through on a daily basis. These are incidents that, by the way, you know, Oprah and \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> have expressed that they’re going through — and they’re billionaires … And also there’s a certain tonality of that song that also speaks to — when you exist as an unafraid and powerful black presence in this country, what happens as a result of that? And kind of the breaking down that people try to do on a daily basis when you present yourself in that way, which is something that I’ve really struggled with.\u003c/p>\n\u003cp>\u003cstrong>I was going to ask whether you thought about who the audience was. This album is obviously from a black perspective, and a black female perspective. But there are some songs, like “F.U.B.U.,” that sound like you are singing to an audience of black listeners. And then there are other songs, like “Don’t Touch My Hair,” which clearly seem directed at a white person.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTtrnDbOQAU\u003c/p>\n\u003cp>I think that honestly while writing the record, I was writing for myself, to be honest. I was writing for my family and my friends. I was wanting to be the voice of my group text chat. I was wanting to be the voice of my grandparents. I was wanting to be the voice of my son, my niece. So I think that’s really the audience that I was writing from the perspective of. Some songs are received in a certain way, but I honestly was writing them for myself and for my healing and for my self-discovery. On some moments, that can be universal. And then some moments, I feel like that is for us, by us, and we deserve to have that moment.\u003c/p>\n\u003cp>\u003cstrong>Can we talk about “Don’t Touch My Hair?” Your mother was a hair stylist — I guess you kind of grew up, almost, in a hair salon. The cover art for this album, your hair is this ornamented halo. Talk about the significance of this song — there’s this lyric, “Don’t touch my hair, it’s the feelings I wear.”\u003c/strong>\u003c/p>\n\u003cp>That is a really good observation in connecting my mother’s hair salon with all of this. I think overall, black hair has such a significance in black culture. And also, it’s such an insular experience. Growing up, being a young girl, transitioning to junior high school, then into adulthood, the hair journey of a black woman is so specific, and it’s really hard. Your hair can send so many different messages to so many different people in the world that it becomes political. It becomes social. And I think that, you know, the hair part of the song is not just about hair, obviously. It encompasses a much bigger conversation of appropriation, of ownership, of protected space. And that all comes through in those things that I speak about.\u003c/p>\n\u003cp>But again, it’s a broader message for black empowerment. And I think my mother’s segment that happens before, her interlude that happens before that song is so powerful, and I think that she articulates what I’m trying to say in a totally different way, in a wonderful and powerful way … Allow us to be pro-black. Allow us to be beautiful and take pride in that. Being pro-black does not mean being anti-white. Stop making the parallels and the analogies of black history month vs. all of the other months in the year. Allow us to have that moment and, just like the album, really take pride and celebrate our journey and look at where we came from and look at where we are today. That was not that long ago. Let us relish in that and celebrate that. And so “Don’t Touch My Hair” is really a moment to do that.\u003c/p>\n\u003cp>I can’t even put into words how overwhelmed I’ve been with the imagery, even Halloween — I had so many people send me photos. And the album cover itself, it was much deeper than that. It was, you know, the functionality of putting those clips into your hair to transition into another style and then also saying, “No, I’m actually gonna live in this transition.” And live in all of the moving parts that gets to the result. Because I feel like that’s what this album is — it’s me working through all of the moving parts — the ugly, the beautiful, the fear, the brave, all of that, to get to the end result.\u003c/p>\n\u003cfigure id=\"attachment_12333307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg\" alt=\"Solange on the cover of her new album, 'A Seat At The Table.'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12333307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange on the cover of her new album, ‘A Seat At The Table.’ \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So is that cover image you getting ready for something or you deciding that that in-between place is an okay place to stay?\u003c/strong>\u003c/p>\n\u003cp>It’s literally, I was getting ready to shoot the album cover and we put the clips in my hair to prep for the waves that I wanted in my hair, and that helps to set the waves, those clips. And I actually just said, “Wait a minute. Let’s actually shoot this.” And everyone was kind of confused and scratching their heads for a minute, and that was really, again about me living and working through the transition and saying it’s okay to expose yourself and the awkwardness and the uncomfortableness of working through the transition. Everybody always wants us to be packaged and ready-made and healed instantly from these instances and these traumas. And that was about me saying, “Hey, I’m working through this transition.”\u003c/p>\n\u003cp>And I think that there’s a thread of, again, regality that I was yearning for throughout creating the visuals of this album. I knew mood-wise that I wanted to project this almost Mona Lisa — black Mona Lisa — type mood and imagery and power and also vulnerability, but the clips just happened to be the transition point. And after that I was like, that’s actually the cover there. We don’t need to take these out.\u003c/p>\n\u003cp>\u003cstrong>Solange, you are really good at writing a perfect, radio-friendly, three-minute pop hit or a dance-y club track. \u003c/strong>\u003c/p>\n\u003cp>Thank you.\u003c/p>\n\u003cp>\u003cstrong>This album is not that kind of music.\u003c/strong>\u003c/p>\n\u003cp>No, it is not.\u003c/p>\n\u003cp>\u003cstrong>And then it goes on to be the first album you’ve had hit No. 1 on the \u003cem>Billboard\u003c/em> charts. So this is something that is specific and challenging and comes from a particular perspective and has a lot of talking. And yet, it’s the biggest success you’ve ever had. What does that tell you?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m still working through that — just like the clips, I’m still working through that! As a songwriter, I started writing professionally, I guess you would say, at 15. And I always took a lot of pride and joy in my versatility as a writer, but I think that yeah, most people would say that a lot of my strength lay in writing more pop-oriented songs. But in a sense, I feel like these are pop songs.\u003c/p>\n\u003cp>\u003cstrong>Really? Explain that to me. Show me the pop song on this track list.\u003c/strong>\u003c/p>\n\u003cp>I feel like that term, in the literal sense, it literally means popular music. And when I think of the trajectory of popular music over a three-year span, I mean, \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/114242154/lauryn-hill\" target=\"_blank\" rel=\"noopener\">Lauryn Hill\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> was popular music. The list goes on and on. I think it’s really about creating something that reaches people — and not only reaches people, it connects with them. And I don’t think that this album is alienating in that way sonically.\u003c/p>\n\u003cp>\u003cstrong>But I guess what I’m trying to get at is — you created this album out of a personal need for self-healing, family healing, ancestral healing. And now it has hit No. 1 on the \u003cem>Billboard\u003c/em> charts, which suggests to me that a lot of other people needed the same kind of healing that you and your family and your ancestors needed. \u003c/strong>\u003c/p>\n\u003cp>Absolutely, absolutely. Timing is a huge part of this album’s success. I think that right now, this generation — we’ve been through a lot. We’ve been through a lot and we are still going through it. And we are still fighting against these internalized messages. We are still fighting for our voices to be heard. And then we’re fighting for action to happen after our voices are heard, after we’re documenting these incidents, after we’re speaking out about them, we’re fighting for action. And I think that it was important for me, throughout the duration of this album, to also feel active in working this stuff out and not just having a platform to vent and cry and mourn.\u003c/p>\n\u003cp>I think Master P did that so beautifully, with the \u003ca href=\"https://www.youtube.com/watch?v=mPrdbH-ly2I\" target=\"_blank\" rel=\"noopener\">“Chosen Ones”\u003c/a> outro, saying, you know, we are chosen, we have been chosen to go through this journey. If you believe in a higher power or some kind of force that’s with us, there has had to have been, for us to go through what we have been through for these centuries. And I feel really good. I feel like the best part about it is just feeling like through my healing that I might have reached someone else that really needed to hear this. And that’s just been the most powerful part of it all.\u003c/p>\n\u003cp>\u003cstrong>So the album is called \u003cem>A Seat At The Table\u003c/em>. At this point, do you feel like you have one?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. By the way, I’ve always had a seat at the table.\u003c/p>\n\u003cp>\u003cstrong>Okay, good. Then explain the title.\u003c/strong>\u003c/p>\n\u003cp>We’ve always had a seat at the table. I think that title has a lot of different subtexts. I think one of the seats at the table is also saying that, you know, I’m inviting \u003cem>you\u003c/em> to have a seat at \u003cem>\u003c/em>\u003cem>my\u003c/em>\u003cem> \u003c/em>table. And it’s an honor to be able to have a seat at our table and for us to open up in this way and for us to feel safe enough to have these conversations and share them with you. I think that, you know, so many times, black people — or any people who are oppressed — have to constantly explain to people what’s right and wrong and what hurts and how to approach this. And I think that even me, I’m still learning so much about other cultures and I think that when you have the opportunity to learn from that, you are gracious and you are appreciative and you listen. And so that was also my way of saying I am opening myself up to everyone to have a seat at this table. We’ve been doing these listening sessions where we set up this literal table and it almost looks like the Last Supper. But the conversations that happen around the table and the sense of pride that happens —\u003c/p>\n\u003cp>\u003cstrong>Is it all black women at these listening sessions?\u003c/strong>\u003c/p>\n\u003cp>No. There’s people of all races, there’s men and women. We had one in New Orleans, we had one in New York and one in L.A., and there’s been all kinds of people. And it’s been interesting to watch the album listening process — L.A. was before the album came out and the other two were after the album came out. And it’s been really funny, a lot of feedback that I had is that most people actually like to hear this album alone. So a lot of these people had not heard the album in a group setting. And some of them really enjoyed that and some of them were like, “Actually, I really think this album is for me, you know. For me to digest and be insular and work through these things.” So it’s interesting how the music is manifesting very differently the experience in everyone.\u003c/p>\n\u003cp>\u003cstrong>Before we wrap up, I want to loop back around. \u003c/strong>\u003cstrong>Tell us about one of the tracks that can take us to this sense of history in New Iberia, Louisiana.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.youtube.com/watch?v=tyRYwXHWAtM\" target=\"_blank\" rel=\"noopener\">“Rise”\u003c/a> really expresses the need to know where you come from in order to know where you’re going. I think that when I say, “Fall in your ways so you can crumble. Fall in your ways so you can sleep at night. Fall in your ways so you can wake up and rise.” That was really about honoring my lineage, my past, my bloodline in order for me to evolve into the person that I need to be to create this album. And that’s why it’s first on the album, because it’s almost like a cleanser, a meditation to just prepare yourself to go through this journey. And yeah, I honestly feel like when I hear that song, I can feel my roots. It feels very, very spiritual. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=%27We%27ve+Always+Had+A+Seat+At+The+Table%27%3A+Solange+On+Conversations+That+Heal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 4512,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 63
},
"modified": 1705032513,
"excerpt": "The singer's latest album, \u003cem>A Seat At The Table\u003c/em>, arose from a personal need for healing and empowerment — but it has touched many others. And that, she says, is \"the most powerful part of it all.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The singer's latest album, A Seat At The Table, arose from a personal need for healing and empowerment — but it has touched many others. And that, she says, is "the most powerful part of it all."",
"title": "'We've Always Had a Seat at the Table': Solange on Conversations That Heal | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'We've Always Had a Seat at the Table': Solange on Conversations That Heal",
"datePublished": "2016-11-12T08:00:13-08:00",
"dateModified": "2024-01-11T20:08:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=501165834&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff",
"nprStoryDate": "Fri, 11 Nov 2016 16:22:00 -0500",
"nprLastModifiedDate": "Fri, 11 Nov 2016 16:56:03 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal?ft=nprml&f=501165834",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2016/11/20161111_atc_weve_always_had_a_seat_at_the_table_solange_on_conversations_that_heal.mp3?orgId=1&topicId=1105&d=481&p=2&story=501165834&t=progseg&e=501694966&seg=8&ft=nprml&f=501165834",
"nprImageAgency": "Courtesy of the artist",
"nprAudioM3u": "http://api.npr.org/m3u/1501749395-bc891a.m3u?orgId=1&topicId=1105&d=481&p=2&story=501165834&t=progseg&e=501694966&seg=8&ft=nprml&f=501165834",
"nprStoryId": "501165834",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 11 Nov 2016 18:41:00 -0500",
"path": "/arts/12333305/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2016/11/20161111_atc_weve_always_had_a_seat_at_the_table_solange_on_conversations_that_heal.mp3?orgId=1&topicId=1105&d=481&p=2&story=501165834&t=progseg&e=501694966&seg=8&ft=nprml&f=501165834",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/174513704/solange\" target=\"_blank\" rel=\"noopener\">Solange Knowles\u003c/a>‘ newest album, \u003cem>A Seat At The Table\u003c/em>, is her most commercially successful yet — it hit No. 1 on the \u003cem>Billboard\u003c/em> charts last month. It’s also her most political. On the record, Solange explores what it means to be black in America today. The songs in this album celebrate black culture, confront prejudice and explore the trauma of witnessing black people killed.\u003c/p>\n\u003cp>This is Solange’s most personal work yet, too. The album includes interviews she conducted with her parents, and she wrote most of the lyrics in the town of New Iberia, La., where her family has roots. “I wanted to reclaim that space,” she says. “I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them.”\u003c/p>\n\u003cp>Solange shared stories about her family and about the healing process of making \u003cem>A Seat At The Table \u003c/em>with NPR’s Ari Shapiro. Read an edited transcript of their conversation below; hear an abridged version at the audio link.\u003c/p>\n\u003cp>\u003cstrong>Ari Shapiro: This album seems to reach into a lot of history: There’s personal history, there’s family history, there’s national history. And you wrote some of it in a place in Louisiana called New Iberia, which sort of taps into all these threads. Tell me about this place.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Solange Knowles:\u003c/strong> So, New Iberia is where my maternal grandparents are from. And they built their home there, their family life there, they were really grounded there. And there was a series of really, really awful events, to where essentially, in the middle of the night, they got pushed out of town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What was that about?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s a really long story, but my grandfather was actually a miner, and there was a big explosion that happened; a lot of people really tragically died. They basically just kind of left him for dead, assuming that he had died, because most people did die. My family all got together and said, you know, “We will not just settle for you telling us that he’s passed” — and believe it or not, my mother’s cousins went in the middle of the night and they went and saved him.\u003c/p>\n\u003cp>\u003cstrong>They dug him out.\u003c/strong>\u003c/p>\n\u003cp>They did. And so, there were obviously a lot of people embarrassed by the situation – it was kind of a town scandal, and it became a little bit of a race war, and my grandparents essentially left in the middle of the night … And they fled to Galveston and they set roots there.\u003c/p>\n\u003cp>\u003cstrong>In Texas.\u003c/strong>\u003c/p>\n\u003cp>In Texas. So the album has a lot of layers, but one of those, and one of the important reasons that I wanted to write the lyrics specifically there, is because I wanted to reclaim that space. I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them and honored their strength and their resilience and their fight — basically say, “No one’s pushing me out of town. No one is going to stop me from telling my story, our story.” And there was a lot of power that I found in that: It felt really good, and it also felt really good to just connect to my lineage. New Iberia has a lot of rich culture and Creole and Cajun culture. Growing up in Houston, I would travel to Louisiana a lot, but I never really got to experience that at the core of it. And it was something really great about just shutting myself off from the outside world. I actually wrote the album in a house that was on a sugar plantation, and a lot of my family were actually caners. So there were just a lot a lot of links in that way that really, really empowered me. And it felt great to be there and to have the freedom now to again, just reclaim the space and do it in that way.\u003c/p>\n\u003cp>\u003cstrong>What is New Iberia like today? And how were you welcomed there when you returned? Did people know the story that had driven your grandparents away from there?\u003c/strong>\u003c/p>\n\u003cp>You know, what’s wild is I actually went there with the intention of connecting with all of this family — and my family actually still owns a cemetery there, which I did visit a couple of times. But I actually got really, really lost in the isolation there, which I think really helped me to write this record in the most true way and honest way. I think that if I would have just really immersed myself too much, then I might have gotten distracted.\u003c/p>\n\u003cp>Because it really was a fun time, the times that I went out. There’s still a lot of traditional zydeco and Cajun music. I actually went to a place in Mamou, Louisiana, that was not far from New Iberia that actually still has a radio show that’s been running, I think, for 30 years. It starts at, I believe, six in the morning, and it’s live in a club. And you go there around eight in the morning and it’s full-on Cajun dancing, and it’s still done in French. All of the music is still performed in French. And so I did that, but I also went to a lot of zydeco clubs — I had experience growing up going to a lot of zydecos. And that was really, really, really fun. And then also, obviously the food was — killing me, it was so good. So at a certain point, I had to just say, “I need to keep my ass in the house for four days and write this bridge that I’ve been stuck on for the last week.”\u003c/p>\n\u003cp>\u003cstrong>I feel like people listening to you describe that might expect to hear a washboard and a harmonica on this album. And there is none of that. There is no zydeco. Where do you hear the sounds of the place — even if it’s not in a literal way — where do you hear on this album something that wouldn’t have come out if you hadn’t been in New Iberia?\u003c/strong>\u003c/p>\n\u003cp>There are a lot of aspects of the album that draw so much from Louisiana culture, specifically the horn sounds. I think that there was a certain sense of triumph and glory and radiance and also regality that I wanted to convey with the horn sounds. And so much of that comes from me living in New Orleans and Louisiana and just brass bands and those brass sounds being sort of just the backdrop of the city. And then obviously with Master P narrating the album, I think he tells that through the lens very much so as a New Orleans self-made black man from the South. And I think overall the album feels very, very Southern in my storytelling, I feel.\u003c/p>\n\u003cp>\u003cstrong>What makes the storytelling Southern, especially?\u003c/strong>\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/S0qrinhNnOM'\n title='//www.youtube.com/embed/S0qrinhNnOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, I think there’s a certain sense of growing up in the South, I feel like storytelling is obviously universal — you know, we all share that. But there’s something about the way that Southern men and women and aunties and uncles take their time with telling stories. And I think sometimes it becomes a matter of not caring how long it takes or how much you reiterate the message. I got concerned a lot of times that some of my lyrics and themes felt a little repetitious. But I think that that’s something I grew up hearing so much from all of my family — the same story told in a thousand different ways.\u003c/p>\n\u003cp>\u003cstrong>Repetitious in what way?\u003c/strong>\u003c/p>\n\u003cp>Well, I think that I was concerned initially that maybe it wasn’t as expansive as I wanted it to be initially — I had all of these feelings and thoughts that I wanted to work out while creating the album, and sometimes, you know, I would be working on \u003ca href=\"https://www.youtube.com/watch?v=BTqNemB6mio\" target=\"_blank\" rel=\"noopener\">“Mad”\u003c/a> and then I’d be working on “Don’t Touch My Hair” and I’d feel like — wait, are these the same messages? But that was my truth at the time, and that was what I felt, and so it was really about figuring out the different nuances in the way of telling those.\u003c/p>\n\u003cp>\u003cstrong>I want to continue this thought about the place of New Iberia and the history that you’re wrestling with while you’re also wrestling with the present-day reality of black people being shot in the street and protest and the sense that maybe things have not changed as much since your grandparents’ time as you might have hoped. When you got to New Iberia, did you know the story of exactly what had happened to your grandparents or did you learn any of that while you were there?\u003c/strong>\u003c/p>\n\u003cp>I knew a little bit of it … And when I interviewed my parents for this album, as you hear them on “Don’t Touch My Hair” and “Mad,” that was actually about a three-hour interview, both for just myself and me really wanting to close all of these chapters. I did it at the very end of the album.\u003c/p>\n\u003cp>\u003cstrong>Wow, really?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>And did you know at the time that you were going to include excerpts of these interviews in the album?\u003c/strong>\u003c/p>\n\u003cp>It was an idea that I had. I didn’t know what would come out of the interviews.\u003c/p>\n\u003cp>\u003cstrong>And was it only at that point that you learned the full story of what had happened to your grandparents?\u003c/strong>\u003c/p>\n\u003cp>Yes, yes. So it was really, really, really powerful. I think having been there for so long and, you know, really getting down to the nitty gritty. It was a really, really long — and, even me telling it now, I shortened it and left out some of the details — but it was really shocking.\u003c/p>\n\u003cp>\u003cstrong>You know, I guess one thing that I wonder, given what your grandparents went through, given that your father integrated his school and got all kinds of abuse in the process, given that you have experienced acts of racism yourself and now you have a son — do you feel like this is a cycle from generation to generation that is doomed to continue repeating?\u003c/strong>\u003c/p>\n\u003cp>I think that while making the album, I actually gave a great deal of thought to how much responsibility I had to express optimism and hope. And ultimately, I decided that me expressing optimism and me expressing hope came from telling the truth — that gave me optimism that I was able to be explicitly honest about my feelings. And for it to have the reception that it’s had, and for me to have people share with me that they listen to the album first thing when they wake up to empower them to get through their day and the micro-aggressions that we experience and the healing that, you know, they’re expressing that they’re feeling — that is the optimism. I think the optimism is in having the conversation and being able to have the conversation now. And people being open to having that conversation.\u003c/p>\n\u003cp>\u003cstrong>One of the tracks is called \u003ca href=\"https://www.youtube.com/watch?v=Njp2vaBzgto\" target=\"_blank\" rel=\"noopener\">“F.U.B.U.,”\u003c/a> which stands for “For us by us.” I read that your working title for the song was “Be Very Afraid.” When you talk about choosing optimism over pessimism, “For us by us” versus “Be very afraid” is a pretty stark contrast.\u003c/strong>\u003c/p>\n\u003cp>It is, it is. And to be honest, “F.U.B.U.” was the song I had the hardest time writing in terms of conceptualizing. Before, that song specifically was about people being afraid of us and fear being at the root of so many murders from policemen, so many murders that we have constantly seen in the past few years. And it was really, really hard for me to put that in a four-minute song. And I kept trying, and I kept trying, and it hurt so much and it was so painful for me and it was so sad. And one day, I put on the track again, probably the fifth or sixth variation of the song, and I swear it just felt like God speaking through me. I wrote it probably in six minutes. And it was just one of those moments where it really did not feel like it was just me.\u003c/p>\n\u003cp>And that is where I drew “For us by us.” Because not only did I mean it, you know, in the obvious way. But it really was written by us. These are incidents that all of my friends go through on a daily basis. These are incidents that, by the way, you know, Oprah and \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> have expressed that they’re going through — and they’re billionaires … And also there’s a certain tonality of that song that also speaks to — when you exist as an unafraid and powerful black presence in this country, what happens as a result of that? And kind of the breaking down that people try to do on a daily basis when you present yourself in that way, which is something that I’ve really struggled with.\u003c/p>\n\u003cp>\u003cstrong>I was going to ask whether you thought about who the audience was. This album is obviously from a black perspective, and a black female perspective. But there are some songs, like “F.U.B.U.,” that sound like you are singing to an audience of black listeners. And then there are other songs, like “Don’t Touch My Hair,” which clearly seem directed at a white person.\u003c/strong>\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/YTtrnDbOQAU'\n title='//www.youtube.com/embed/YTtrnDbOQAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think that honestly while writing the record, I was writing for myself, to be honest. I was writing for my family and my friends. I was wanting to be the voice of my group text chat. I was wanting to be the voice of my grandparents. I was wanting to be the voice of my son, my niece. So I think that’s really the audience that I was writing from the perspective of. Some songs are received in a certain way, but I honestly was writing them for myself and for my healing and for my self-discovery. On some moments, that can be universal. And then some moments, I feel like that is for us, by us, and we deserve to have that moment.\u003c/p>\n\u003cp>\u003cstrong>Can we talk about “Don’t Touch My Hair?” Your mother was a hair stylist — I guess you kind of grew up, almost, in a hair salon. The cover art for this album, your hair is this ornamented halo. Talk about the significance of this song — there’s this lyric, “Don’t touch my hair, it’s the feelings I wear.”\u003c/strong>\u003c/p>\n\u003cp>That is a really good observation in connecting my mother’s hair salon with all of this. I think overall, black hair has such a significance in black culture. And also, it’s such an insular experience. Growing up, being a young girl, transitioning to junior high school, then into adulthood, the hair journey of a black woman is so specific, and it’s really hard. Your hair can send so many different messages to so many different people in the world that it becomes political. It becomes social. And I think that, you know, the hair part of the song is not just about hair, obviously. It encompasses a much bigger conversation of appropriation, of ownership, of protected space. And that all comes through in those things that I speak about.\u003c/p>\n\u003cp>But again, it’s a broader message for black empowerment. And I think my mother’s segment that happens before, her interlude that happens before that song is so powerful, and I think that she articulates what I’m trying to say in a totally different way, in a wonderful and powerful way … Allow us to be pro-black. Allow us to be beautiful and take pride in that. Being pro-black does not mean being anti-white. Stop making the parallels and the analogies of black history month vs. all of the other months in the year. Allow us to have that moment and, just like the album, really take pride and celebrate our journey and look at where we came from and look at where we are today. That was not that long ago. Let us relish in that and celebrate that. And so “Don’t Touch My Hair” is really a moment to do that.\u003c/p>\n\u003cp>I can’t even put into words how overwhelmed I’ve been with the imagery, even Halloween — I had so many people send me photos. And the album cover itself, it was much deeper than that. It was, you know, the functionality of putting those clips into your hair to transition into another style and then also saying, “No, I’m actually gonna live in this transition.” And live in all of the moving parts that gets to the result. Because I feel like that’s what this album is — it’s me working through all of the moving parts — the ugly, the beautiful, the fear, the brave, all of that, to get to the end result.\u003c/p>\n\u003cfigure id=\"attachment_12333307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg\" alt=\"Solange on the cover of her new album, 'A Seat At The Table.'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12333307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange on the cover of her new album, ‘A Seat At The Table.’ \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So is that cover image you getting ready for something or you deciding that that in-between place is an okay place to stay?\u003c/strong>\u003c/p>\n\u003cp>It’s literally, I was getting ready to shoot the album cover and we put the clips in my hair to prep for the waves that I wanted in my hair, and that helps to set the waves, those clips. And I actually just said, “Wait a minute. Let’s actually shoot this.” And everyone was kind of confused and scratching their heads for a minute, and that was really, again about me living and working through the transition and saying it’s okay to expose yourself and the awkwardness and the uncomfortableness of working through the transition. Everybody always wants us to be packaged and ready-made and healed instantly from these instances and these traumas. And that was about me saying, “Hey, I’m working through this transition.”\u003c/p>\n\u003cp>And I think that there’s a thread of, again, regality that I was yearning for throughout creating the visuals of this album. I knew mood-wise that I wanted to project this almost Mona Lisa — black Mona Lisa — type mood and imagery and power and also vulnerability, but the clips just happened to be the transition point. And after that I was like, that’s actually the cover there. We don’t need to take these out.\u003c/p>\n\u003cp>\u003cstrong>Solange, you are really good at writing a perfect, radio-friendly, three-minute pop hit or a dance-y club track. \u003c/strong>\u003c/p>\n\u003cp>Thank you.\u003c/p>\n\u003cp>\u003cstrong>This album is not that kind of music.\u003c/strong>\u003c/p>\n\u003cp>No, it is not.\u003c/p>\n\u003cp>\u003cstrong>And then it goes on to be the first album you’ve had hit No. 1 on the \u003cem>Billboard\u003c/em> charts. So this is something that is specific and challenging and comes from a particular perspective and has a lot of talking. And yet, it’s the biggest success you’ve ever had. What does that tell you?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m still working through that — just like the clips, I’m still working through that! As a songwriter, I started writing professionally, I guess you would say, at 15. And I always took a lot of pride and joy in my versatility as a writer, but I think that yeah, most people would say that a lot of my strength lay in writing more pop-oriented songs. But in a sense, I feel like these are pop songs.\u003c/p>\n\u003cp>\u003cstrong>Really? Explain that to me. Show me the pop song on this track list.\u003c/strong>\u003c/p>\n\u003cp>I feel like that term, in the literal sense, it literally means popular music. And when I think of the trajectory of popular music over a three-year span, I mean, \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/114242154/lauryn-hill\" target=\"_blank\" rel=\"noopener\">Lauryn Hill\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> was popular music. The list goes on and on. I think it’s really about creating something that reaches people — and not only reaches people, it connects with them. And I don’t think that this album is alienating in that way sonically.\u003c/p>\n\u003cp>\u003cstrong>But I guess what I’m trying to get at is — you created this album out of a personal need for self-healing, family healing, ancestral healing. And now it has hit No. 1 on the \u003cem>Billboard\u003c/em> charts, which suggests to me that a lot of other people needed the same kind of healing that you and your family and your ancestors needed. \u003c/strong>\u003c/p>\n\u003cp>Absolutely, absolutely. Timing is a huge part of this album’s success. I think that right now, this generation — we’ve been through a lot. We’ve been through a lot and we are still going through it. And we are still fighting against these internalized messages. We are still fighting for our voices to be heard. And then we’re fighting for action to happen after our voices are heard, after we’re documenting these incidents, after we’re speaking out about them, we’re fighting for action. And I think that it was important for me, throughout the duration of this album, to also feel active in working this stuff out and not just having a platform to vent and cry and mourn.\u003c/p>\n\u003cp>I think Master P did that so beautifully, with the \u003ca href=\"https://www.youtube.com/watch?v=mPrdbH-ly2I\" target=\"_blank\" rel=\"noopener\">“Chosen Ones”\u003c/a> outro, saying, you know, we are chosen, we have been chosen to go through this journey. If you believe in a higher power or some kind of force that’s with us, there has had to have been, for us to go through what we have been through for these centuries. And I feel really good. I feel like the best part about it is just feeling like through my healing that I might have reached someone else that really needed to hear this. And that’s just been the most powerful part of it all.\u003c/p>\n\u003cp>\u003cstrong>So the album is called \u003cem>A Seat At The Table\u003c/em>. At this point, do you feel like you have one?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. By the way, I’ve always had a seat at the table.\u003c/p>\n\u003cp>\u003cstrong>Okay, good. Then explain the title.\u003c/strong>\u003c/p>\n\u003cp>We’ve always had a seat at the table. I think that title has a lot of different subtexts. I think one of the seats at the table is also saying that, you know, I’m inviting \u003cem>you\u003c/em> to have a seat at \u003cem>\u003c/em>\u003cem>my\u003c/em>\u003cem> \u003c/em>table. And it’s an honor to be able to have a seat at our table and for us to open up in this way and for us to feel safe enough to have these conversations and share them with you. I think that, you know, so many times, black people — or any people who are oppressed — have to constantly explain to people what’s right and wrong and what hurts and how to approach this. And I think that even me, I’m still learning so much about other cultures and I think that when you have the opportunity to learn from that, you are gracious and you are appreciative and you listen. And so that was also my way of saying I am opening myself up to everyone to have a seat at this table. We’ve been doing these listening sessions where we set up this literal table and it almost looks like the Last Supper. But the conversations that happen around the table and the sense of pride that happens —\u003c/p>\n\u003cp>\u003cstrong>Is it all black women at these listening sessions?\u003c/strong>\u003c/p>\n\u003cp>No. There’s people of all races, there’s men and women. We had one in New Orleans, we had one in New York and one in L.A., and there’s been all kinds of people. And it’s been interesting to watch the album listening process — L.A. was before the album came out and the other two were after the album came out. And it’s been really funny, a lot of feedback that I had is that most people actually like to hear this album alone. So a lot of these people had not heard the album in a group setting. And some of them really enjoyed that and some of them were like, “Actually, I really think this album is for me, you know. For me to digest and be insular and work through these things.” So it’s interesting how the music is manifesting very differently the experience in everyone.\u003c/p>\n\u003cp>\u003cstrong>Before we wrap up, I want to loop back around. \u003c/strong>\u003cstrong>Tell us about one of the tracks that can take us to this sense of history in New Iberia, Louisiana.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.youtube.com/watch?v=tyRYwXHWAtM\" target=\"_blank\" rel=\"noopener\">“Rise”\u003c/a> really expresses the need to know where you come from in order to know where you’re going. I think that when I say, “Fall in your ways so you can crumble. Fall in your ways so you can sleep at night. Fall in your ways so you can wake up and rise.” That was really about honoring my lineage, my past, my bloodline in order for me to evolve into the person that I need to be to create this album. And that’s why it’s first on the album, because it’s almost like a cleanser, a meditation to just prepare yourself to go through this journey. And yeah, I honestly feel like when I hear that song, I can feel my roots. It feels very, very spiritual. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=%27We%27ve+Always+Had+A+Seat+At+The+Table%27%3A+Solange+On+Conversations+That+Heal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12333305/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal",
"authors": [
"byline_arts_12333305"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_989"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12333306",
"label": "arts_137"
},
"arts_12322869": {
"type": "posts",
"id": "arts_12322869",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12322869",
"score": null,
"sort": [
1478876447000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1478876447,
"format": "standard",
"title": "'Loving' Provides A Graceful, Intimate Portrait Of A Marriage That Changed History",
"headTitle": "‘Loving’ Provides A Graceful, Intimate Portrait Of A Marriage That Changed History | KQED",
"content": "\u003cp>The title \u003cem>Loving\u003c/em> may seem a rough fit for a movie made by Jeff Nichols, whose previous work includes \u003cem>Take Shelter\u003c/em> and \u003cem>Mud\u003c/em>. But Richard and Mildred Loving were the names of the real-life couple who inspired his new film; in the late 1950s they were forbidden to love and marry by the state of Virginia. And Nichols, who has elastic gifts, has made a gracefully classical film about the Lovings, who were arrested because they were an interracial couple living in a state that still had on its books an anti-miscegenation statute that many whites believed was decreed by God himself.\u003c/p>\n\u003cp>How the couple, with help from two canny ACLU lawyers working pro bono, managed to overturn that statute and in the process change the U.S. Constitution makes a great story. But though Bobby Kennedy does get on the blower for a quick message to Mildred, \u003cem>Loving\u003c/em> is the furthest thing from a triumphalist courtroom thriller. It’s an intimate domestic drama about race in America, not Race in America, via a large-hearted portrait of two profoundly apolitical people who wanted to live with the same basic rights as those enjoyed by white Americans. Like them, \u003cem>Loving\u003c/em> is modest, quiet and deep. Like all Nichols’ work with his longtime cinematographer, Adam Stone, the film highlights the lush beauty of the rural American South.\u003c/p>\n\u003cp>https://youtu.be/bQMF5MSohPA\u003c/p>\n\u003cp>Nichols tells this stirring story with a Southerner’s rich feel for the complexities of a region too often dismissed as a capital of crude racism. Bigots have their day in \u003cem>Loving,\u003c/em> but in the film’s tranquil opening scenes, the director sets up the casually integrated community of Central Point that’s home to Richard (Joel Edgerton), a white bricklayer, and Mildred (Ruth Negga), a homemaker who’s half black and half Native American. Their ethnically mixed peers take Mildred’s pregnancy and their marriage (in that order) in stride. Poverty in \u003cem>Loving\u003c/em> is never treated as disabling; the Lovings get on with their plans, helped without fanfare by family and friends. But the misgivings of their parents (Sharon Blackwood is wonderfully spare as Richard’s dour mother) are confirmed when sheriff’s deputies show up in the middle of the night to arrest them.\u003c/p>\n\u003cp>Thrown into jail and then banished for 25 years from the Comonwealth of Virginia by a judge, the two move to Washington, D.C., where they raise three children. But Mildred constantly pines for home and family, and it’s here that Nichols subtly shifts our attention from Richard, a loving husband nevertheless possessed of his mother’s stubbornly taciturn temperament, to Mildred, beautifully underplayed by Negga as an unassuming but steely activist who is more willing than her husband to solicit help and compromise where needed. Comedians Nick Kroll and Jon Bass are mischievously cast as the ACLU lawyers who leap on this opportunity to score big with the Supreme Court, and the long and thorny obstacle race to victory quickens the pace but never strays from the point of view of the Lovings. Michael Shannon, by this point a virtual muse for Nichols, gets in a puckish quickie as the \u003cem>Life\u003c/em> photographer who catches the money shot of Richard and Mildred on the couch, giggling at a television sitcom in a rare moment of unguarded happiness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That photo became a famous \u003cem>Life\u003c/em> cover, but not famous enough to make the Lovings’ fight a textbook case today. Given the import of \u003cem>Loving v. Virginia\u003c/em> for the civil rights of minority Americans (on June 12, 1967, the Supreme Court struck down all anti-miscegenation laws), its disappearance from the history books is hard to explain. Nichols is not the first to make a film about the Lovings; in fact the idea for \u003cem>Loving\u003c/em> sprang from Nancy Buirski’s HBO documentary \u003cem>The Loving Story\u003c/em>. With this lovely, empathetic account of their struggle, Nichols restores the couple’s brave moment to history.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 674,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705032522,
"excerpt": "Joel Edgerton and Ruth Negga play Richard and Mildred Loving, a Virginia couple whose interracial marriage propels them to the forefront of the civil rights movement -- and to the U.S. Supreme Court.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Joel Edgerton and Ruth Negga play Richard and Mildred Loving, a Virginia couple whose interracial marriage propels them to the forefront of the civil rights movement -- and to the U.S. Supreme Court.",
"title": "'Loving' Provides A Graceful, Intimate Portrait Of A Marriage That Changed History | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Loving' Provides A Graceful, Intimate Portrait Of A Marriage That Changed History",
"datePublished": "2016-11-11T07:00:47-08:00",
"dateModified": "2024-01-11T20:08:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "loving-provides-a-graceful-intimate-portrait-of-a-marriage-that-changed-history",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=499443353&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 03 Nov 2016 17:00:00 -0400",
"nprLastModifiedDate": "Thu, 03 Nov 2016 20:26:42 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/11/03/499443353/loving-provides-a-graceful-intimate-portrait-of-a-marriage-that-changed-history?ft=nprml&f=499443353",
"nprImageAgency": "Focus Features",
"nprImageCredit": "Ben Rothstein",
"nprStoryId": "499443353",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 03 Nov 2016 20:26:00 -0400",
"path": "/arts/12322869/loving-provides-a-graceful-intimate-portrait-of-a-marriage-that-changed-history",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title \u003cem>Loving\u003c/em> may seem a rough fit for a movie made by Jeff Nichols, whose previous work includes \u003cem>Take Shelter\u003c/em> and \u003cem>Mud\u003c/em>. But Richard and Mildred Loving were the names of the real-life couple who inspired his new film; in the late 1950s they were forbidden to love and marry by the state of Virginia. And Nichols, who has elastic gifts, has made a gracefully classical film about the Lovings, who were arrested because they were an interracial couple living in a state that still had on its books an anti-miscegenation statute that many whites believed was decreed by God himself.\u003c/p>\n\u003cp>How the couple, with help from two canny ACLU lawyers working pro bono, managed to overturn that statute and in the process change the U.S. Constitution makes a great story. But though Bobby Kennedy does get on the blower for a quick message to Mildred, \u003cem>Loving\u003c/em> is the furthest thing from a triumphalist courtroom thriller. It’s an intimate domestic drama about race in America, not Race in America, via a large-hearted portrait of two profoundly apolitical people who wanted to live with the same basic rights as those enjoyed by white Americans. Like them, \u003cem>Loving\u003c/em> is modest, quiet and deep. Like all Nichols’ work with his longtime cinematographer, Adam Stone, the film highlights the lush beauty of the rural American South.\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/bQMF5MSohPA'\n title='//www.youtube.com/embed/bQMF5MSohPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols tells this stirring story with a Southerner’s rich feel for the complexities of a region too often dismissed as a capital of crude racism. Bigots have their day in \u003cem>Loving,\u003c/em> but in the film’s tranquil opening scenes, the director sets up the casually integrated community of Central Point that’s home to Richard (Joel Edgerton), a white bricklayer, and Mildred (Ruth Negga), a homemaker who’s half black and half Native American. Their ethnically mixed peers take Mildred’s pregnancy and their marriage (in that order) in stride. Poverty in \u003cem>Loving\u003c/em> is never treated as disabling; the Lovings get on with their plans, helped without fanfare by family and friends. But the misgivings of their parents (Sharon Blackwood is wonderfully spare as Richard’s dour mother) are confirmed when sheriff’s deputies show up in the middle of the night to arrest them.\u003c/p>\n\u003cp>Thrown into jail and then banished for 25 years from the Comonwealth of Virginia by a judge, the two move to Washington, D.C., where they raise three children. But Mildred constantly pines for home and family, and it’s here that Nichols subtly shifts our attention from Richard, a loving husband nevertheless possessed of his mother’s stubbornly taciturn temperament, to Mildred, beautifully underplayed by Negga as an unassuming but steely activist who is more willing than her husband to solicit help and compromise where needed. Comedians Nick Kroll and Jon Bass are mischievously cast as the ACLU lawyers who leap on this opportunity to score big with the Supreme Court, and the long and thorny obstacle race to victory quickens the pace but never strays from the point of view of the Lovings. Michael Shannon, by this point a virtual muse for Nichols, gets in a puckish quickie as the \u003cem>Life\u003c/em> photographer who catches the money shot of Richard and Mildred on the couch, giggling at a television sitcom in a rare moment of unguarded happiness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That photo became a famous \u003cem>Life\u003c/em> cover, but not famous enough to make the Lovings’ fight a textbook case today. Given the import of \u003cem>Loving v. Virginia\u003c/em> for the civil rights of minority Americans (on June 12, 1967, the Supreme Court struck down all anti-miscegenation laws), its disappearance from the history books is hard to explain. Nichols is not the first to make a film about the Lovings; in fact the idea for \u003cem>Loving\u003c/em> sprang from Nancy Buirski’s HBO documentary \u003cem>The Loving Story\u003c/em>. With this lovely, empathetic account of their struggle, Nichols restores the couple’s brave moment to history.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12322869/loving-provides-a-graceful-intimate-portrait-of-a-marriage-that-changed-history",
"authors": [
"byline_arts_12322869"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12322870",
"label": "arts_137"
},
"arts_12327432": {
"type": "posts",
"id": "arts_12327432",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12327432",
"score": null,
"sort": [
1478823020000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1478823020,
"format": "standard",
"title": "Toy Hall of Fame: Dungeons & Dragons, Little People Honored; So are Swings",
"headTitle": "Toy Hall of Fame: Dungeons & Dragons, Little People Honored; So are Swings | KQED",
"content": "\u003cp>Care Bears didn’t make the cut; neither did Transformers or Uno. But it’s a good day for Little People — first produced by Fisher-Price in 1959 — as the Toy Hall of Fame announces its 2016 class of inductees.\u003c/p>\n\u003cp>Also getting the nod: Dungeons & Dragons, which was praised for creating a system of imaginative play that has entranced both kids and adults; and the humble swing, which in the past 100 years has grown from its ancient roots to become a playground favorite.\u003c/p>\n\u003cp>The nomination process for the Toy Hall of Fame is open to the public — but to get in, a toy has to be approved by “historians, educators, and other individuals who exemplify learning, creativity, and discovery through their lives and careers,” according to its host, \u003ca href=\"http://www.museumofplay.org/press/releases/2016/11/3002-2016-national-toy-hall-fame-inductees-announced\" target=\"_blank\" rel=\"noopener\">The Strong National Museum of Play\u003c/a> in Rochester, N.Y.\u003c/p>\n\u003cp>The list of 12 finalists for this year’s honors had included bubble wrap, Care Bears, Clue, the coloring book, Nerf ball, pinball, Rock ‘Em Sock ‘Em Robots, Transformers and Uno.\u003c/p>\n\u003cp>In previous years, the Hall of Fame’s inductees have ranged from \u003ca href=\"http://www.npr.org/2015/11/08/455206559/toy-hall-fame\" target=\"_blank\" rel=\"noopener\">Twister and the puppet\u003c/a> (2015) to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/06/362132399/rubik-s-cube-bubbles-and-green-army-men-join-toy-hall-of-fame\" target=\"_blank\" rel=\"noopener\">green army men, the Rubik’s Cube, and bubbles\u003c/a> (2014).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it emerged in 1974, Dungeons & Dragons was groundbreaking, says curator Nic Ricketts of The Strong. In addition to its own merits, the game created by Gary Gygax and Dave Arneson established a pattern for how similar role-playing games might work — both on table-tops and, eventually, on computers and other devices.\u003c/p>\n\u003cp>As Ricketts says, the game’s mechanics “lent themselves to computer applications, and it had a direct impact on hugely successful electronic games like World of Warcraft.”\u003c/p>\n\u003cp>The swing, which has been seen in artifacts from ancient Greece and other historic sources, was chosen for the combination of joy and physical learning that it embodies.\u003c/p>\n\u003cp>“Though the equipment has evolved with the centuries, the pleasure children and adults find in swinging has hardly changed at all,” curator Patricia Hogan says. “Swinging requires physical exertion, muscle coordination, and a rudimentary instinct for, if not understanding of, kinetic energy, inertia, and gravity. It’s the perfect vehicle for outdoor play.”\u003c/p>\n\u003cp>Of Little People, Chris Bensch, The Strong’s vice president for collections, says:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Little People have been a fixture—albeit a small one—in many American playrooms for more than 50 years. More than two billion Little People have been sold since 1959, and they have helped generations of small children imagine big adventures in play sets representing farms, schools, airports, and other fascinating places in their worlds.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Toy+Hall+Of+Fame%3A+Dungeons+%26+Dragons%2C+Little+People+Honored%3B+So+Are+Swings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 468,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705032528,
"excerpt": "Care Bears didn't make the cut; neither did Transformers or Uno. But it's a good day for Little People, first produced by Fisher-Price in 1959.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Care Bears didn't make the cut; neither did Transformers or Uno. But it's a good day for Little People, first produced by Fisher-Price in 1959.",
"title": "Toy Hall of Fame: Dungeons & Dragons, Little People Honored; So are Swings | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Toy Hall of Fame: Dungeons & Dragons, Little People Honored; So are Swings",
"datePublished": "2016-11-10T16:10:20-08:00",
"dateModified": "2024-01-11T20:08:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "toy-hall-of-fame-dungeons-so-are-swings",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=501576187&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Thu, 10 Nov 2016 12:04:00 -0500",
"nprLastModifiedDate": "Thu, 10 Nov 2016 14:34:22 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/11/10/501576187/toy-hall-of-fame-dungeons-dragons-little-people-honored-so-are-swings?ft=nprml&f=501576187",
"nprImageAgency": "The Strong, Rochester, N.Y.",
"nprStoryId": "501576187",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Nov 2016 14:34:00 -0500",
"path": "/arts/12327432/toy-hall-of-fame-dungeons-so-are-swings",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Care Bears didn’t make the cut; neither did Transformers or Uno. But it’s a good day for Little People — first produced by Fisher-Price in 1959 — as the Toy Hall of Fame announces its 2016 class of inductees.\u003c/p>\n\u003cp>Also getting the nod: Dungeons & Dragons, which was praised for creating a system of imaginative play that has entranced both kids and adults; and the humble swing, which in the past 100 years has grown from its ancient roots to become a playground favorite.\u003c/p>\n\u003cp>The nomination process for the Toy Hall of Fame is open to the public — but to get in, a toy has to be approved by “historians, educators, and other individuals who exemplify learning, creativity, and discovery through their lives and careers,” according to its host, \u003ca href=\"http://www.museumofplay.org/press/releases/2016/11/3002-2016-national-toy-hall-fame-inductees-announced\" target=\"_blank\" rel=\"noopener\">The Strong National Museum of Play\u003c/a> in Rochester, N.Y.\u003c/p>\n\u003cp>The list of 12 finalists for this year’s honors had included bubble wrap, Care Bears, Clue, the coloring book, Nerf ball, pinball, Rock ‘Em Sock ‘Em Robots, Transformers and Uno.\u003c/p>\n\u003cp>In previous years, the Hall of Fame’s inductees have ranged from \u003ca href=\"http://www.npr.org/2015/11/08/455206559/toy-hall-fame\" target=\"_blank\" rel=\"noopener\">Twister and the puppet\u003c/a> (2015) to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/06/362132399/rubik-s-cube-bubbles-and-green-army-men-join-toy-hall-of-fame\" target=\"_blank\" rel=\"noopener\">green army men, the Rubik’s Cube, and bubbles\u003c/a> (2014).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it emerged in 1974, Dungeons & Dragons was groundbreaking, says curator Nic Ricketts of The Strong. In addition to its own merits, the game created by Gary Gygax and Dave Arneson established a pattern for how similar role-playing games might work — both on table-tops and, eventually, on computers and other devices.\u003c/p>\n\u003cp>As Ricketts says, the game’s mechanics “lent themselves to computer applications, and it had a direct impact on hugely successful electronic games like World of Warcraft.”\u003c/p>\n\u003cp>The swing, which has been seen in artifacts from ancient Greece and other historic sources, was chosen for the combination of joy and physical learning that it embodies.\u003c/p>\n\u003cp>“Though the equipment has evolved with the centuries, the pleasure children and adults find in swinging has hardly changed at all,” curator Patricia Hogan says. “Swinging requires physical exertion, muscle coordination, and a rudimentary instinct for, if not understanding of, kinetic energy, inertia, and gravity. It’s the perfect vehicle for outdoor play.”\u003c/p>\n\u003cp>Of Little People, Chris Bensch, The Strong’s vice president for collections, says:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Little People have been a fixture—albeit a small one—in many American playrooms for more than 50 years. More than two billion Little People have been sold since 1959, and they have helped generations of small children imagine big adventures in play sets representing farms, schools, airports, and other fascinating places in their worlds.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Toy+Hall+Of+Fame%3A+Dungeons+%26+Dragons%2C+Little+People+Honored%3B+So+Are+Swings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12327432/toy-hall-of-fame-dungeons-so-are-swings",
"authors": [
"byline_arts_12327432"
],
"categories": [
"arts_75",
"arts_70"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12327433",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2040,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_12455874",
"arts_12429382",
"arts_12426220",
"arts_12418597",
"arts_12400416",
"arts_12392637",
"arts_12364614",
"arts_12349827",
"arts_12344688",
"arts_12333305",
"arts_12322869",
"arts_12327432"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_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_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_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
