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_11975410": {
"type": "attachments",
"id": "arts_11975410",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11975410",
"found": true
},
"parent": 11975409,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-400x269.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 269
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-960x646.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 646
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030.jpg",
"width": 1884,
"height": 1267
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-1180x794.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 794
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-800x538.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 538
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-1180x794.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 794
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-768x516.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 516
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_720316057-edit1_custom-206e1d713265f46f4fb5bf4beb41dee4108dd030-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1472064878,
"modified": 1472064878,
"caption": null,
"description": "Yoko Ono, John Lennon and their immigration attorney, Michael Wildes (right), leave the Immigration and Naturalization Service in New York City on March 16, 1972.",
"title": "Yoko Ono, John Lennon and their immigration attorney, Michael Wildes (right), leave the Immigration and Naturalization Service in New York City on March 16, 1972.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11971685": {
"type": "attachments",
"id": "arts_11971685",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11971685",
"found": true
},
"parent": 11971684,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/20150625_kishabari_thefrightnrs-95_custom-1108ee68bbe9ef9f1bb371af6391942ae472a51b-e1471984659730-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1471984419,
"modified": 1471985085,
"caption": "The Frightnrs. Left to right: Chuck Patel, Richard Terrana, Dan Klein, and Preet Patel",
"description": "The Frightnrs. Left to right: Chuck Patel, Richard Terrana, Dan Klein, and Preet Patel",
"title": "The Frightnrs. Left to right: Chuck Patel, Richard Terrana, Dan Klein, and Preet Patel.",
"credit": "Photo: Kisha Bari/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11967359": {
"type": "attachments",
"id": "arts_11967359",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11967359",
"found": true
},
"parent": 11967358,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401.jpg",
"width": 2518,
"height": 1416
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-81507270-1640e52cdf6c39f022f385ef8c9a2baeba4f02d5-e1471892874401-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1471890693,
"modified": 1471893054,
"caption": "Lou Pearlman (center) poses with *NSYNC Chris Kirkpatrick, JC Chasez, Lance Bass, Joey Fatone and Justin Timberlake at N.Y.P.D. pizzeria in Miami, circa 1996.",
"description": "Lou Pearlman (center) poses with *NSYNC Chris Kirkpatrick, JC Chasez, Lance Bass, Joey Fatone and Justin Timberlake at N.Y.P.D. pizzeria in Miami, circa 1996.",
"title": "Lou Pearlman (center) poses with *NSYNC Chris Kirkpatrick, JC Chasez, Lance Bass, Joey Fatone and Justin Timberlake at N.Y.P.D. pizzeria in Miami, circa 1996.",
"credit": "Photo: Mark Weiss/WireImage/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11952826": {
"type": "attachments",
"id": "arts_11952826",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11952826",
"found": true
},
"parent": 11952825,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6.jpg",
"width": 1450,
"height": 815
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/27000190stilllaika00021466192988_wide-f1838de869a0441225394f04ce9205a8991cb9f6-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1471565529,
"modified": 1471565766,
"caption": "Beetle (Matthew McConaughey), Kubo (Art Parkinson) and Monkey (Charlize Theron) set off on a promising path in the animated adventure 'Kubo and the Two Strings.'",
"description": "Beetle (Matthew McConaughey), Kubo (Art Parkinson) and Monkey (Charlize Theron) set off on a promising path in the animated adventure 'Kubo and the Two Strings.'",
"title": "Beetle (Matthew McConaughey), Kubo (Art Parkinson) and Monkey (Charlize Theron) set off on a promising path in the animated adventure Kubo and the Two Strings.",
"credit": "Courtesy of LAIKA / Focus Features",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11948213": {
"type": "attachments",
"id": "arts_11948213",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11948213",
"found": true
},
"parent": 11948186,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/brooks_self-portrait_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1471464034,
"modified": 1471465646,
"caption": "A sample of 'Self Portrait' by Romaine Brooks, 1923",
"description": "A sample of 'Self Portrait' by Romaine Brooks, 1923",
"title": "brooks_self-portrait",
"credit": "Photo: Courtesy of Smithsonian American Art Museum",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11944222": {
"type": "attachments",
"id": "arts_11944222",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11944222",
"found": true
},
"parent": 11944221,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-400x268.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 268
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-960x644.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 644
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d.jpg",
"width": 2000,
"height": 1342
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-1180x792.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 792
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-800x537.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 537
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-1920x1288.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1288
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-1180x792.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 792
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-768x515.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 515
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/mary-poppuns_small_enl-b42be1dc7ffb7628d7060cf44903c0fc715c718d-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1471378434,
"modified": 1471378434,
"caption": null,
"description": "\"Mary POPpuns.\" Tootsie Pop, Tootsie Roll Frooties and Dum Dum wrappers with acrylic and ink on wood. 2016.",
"title": "\"Mary POPpuns.\" Tootsie Pop, Tootsie Roll Frooties and Dum Dum wrappers with acrylic and ink on wood. 2016.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11932159": {
"type": "attachments",
"id": "arts_11932159",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11932159",
"found": true
},
"parent": 11932158,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e.jpg",
"width": 1921,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/kenny-baker-star-wars-r2-d2-obit_wide-63254638c6d2f74a699c9b9ccffcc397d067863e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1471118702,
"modified": 1471118702,
"caption": null,
"description": "Kenny Baker, who portrayed the R2-D2 in the first Star Wars movie, signs autographs in 2007, at a Star Wars event marking the anniversary of the release of the first film in the Star Wars saga.",
"title": "Kenny Baker, who portrayed the R2-D2 in the first Star Wars movie, signs autographs in 2007, at a Star Wars event marking the anniversary of the release of the first film in the Star Wars saga.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11920450": {
"type": "attachments",
"id": "arts_11920450",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11920450",
"found": true
},
"parent": 11920449,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/equity-5_wide-00366e151fe7cdc0cbdbb82f50dacd1982c0ffae-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1470859887,
"modified": 1470863294,
"caption": "Sam (Alysia Reiner) in 'Equity.'",
"description": null,
"title": "Sam (Alysia Reiner) in Equity.",
"credit": "Courtesy of Sony Pictures Classics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11920622": {
"type": "attachments",
"id": "arts_11920622",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11920622",
"found": true
},
"parent": 11920621,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-1000x576.jpg",
"width": 1000,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-400x257.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 257
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-960x616.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 616
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585.jpg",
"width": 1000,
"height": 642
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-800x514.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 514
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-768x493.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 493
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/FFJ-871c0b92f6aa31ac0a36425114414ff635de469a-e1470863065585-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1470862575,
"modified": 1470863035,
"caption": "Florence Foster Jenkins, known for her lack of skill as a singer, photographed in the 1920s.",
"description": "Florence Foster Jenkins, known for her lack of skill as a singer, photographed in the 1920s.",
"title": "Florence Foster Jenkins, known for her lack of skill as a singer, photographed in the 1920s.",
"credit": "Photo: Pictorial Parade/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11920257": {
"type": "attachments",
"id": "arts_11920257",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11920257",
"found": true
},
"parent": 11920256,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-960x638.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 638
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933.jpg",
"width": 3996,
"height": 2657
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-1920x1277.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1277
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/ap_16202267850782-9c7293fc4d28819859598dab7e09c246bdbc6a73-e1470857776933-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1470856345,
"modified": 1470857878,
"caption": "Du Daozheng browses his copy of 'The Annals of the Chinese Nation,' or 'Yanhuang Chunqiu,' in July at his home in Beijing. The 93-year old publisher, a stalwart of the Communist Party's embattled liberal wing, announced publication of the magazine would end after government officials ordered a leadership reshuffle and seized its offices.",
"description": "Du Daozheng browses his copy of 'The Annals of the Chinese Nation,' or 'Yanhuang Chunqiu,' in July at his home in Beijing. The 93-year old publisher, a stalwart of the Communist Party's embattled liberal wing, announced publication of the magazine would end after government officials ordered a leadership reshuffle and seized its offices.",
"title": "Du Daozheng browses his copy of The Annals of the Chinese Nation, or Yanhuang Chunqiu, in July at his home in Beijing. The 93-year old publisher, a stalwart of the Communist Party's embattled liberal wing, announced publication of the magazine would end after government officials ordered a leadership reshuffle and seized its offices.",
"credit": "Photo: Gerry Shih",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11912509": {
"type": "attachments",
"id": "arts_11912509",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11912509",
"found": true
},
"parent": 11912508,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596.jpg",
"width": 2859,
"height": 1608
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/gettyimages-510512874-a9f9b370b24505898945e6d837157a15ced51cd7-e1470694245596-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1470693655,
"modified": 1470694227,
"caption": "Taylor Swift is one of many artists urging Congress to update copyright laws, which they argue don't fairly pay for music available online.",
"description": "Taylor Swift is one of many artists urging Congress to update copyright laws, which they argue don't fairly pay for music available online.",
"title": "Taylor Swift is one of many artists urging Congress to update copyright laws, which they argue don't fairly pay for music available online.",
"credit": "Photo: Kevin Mazur/WireImage/Getty",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11895913": {
"type": "attachments",
"id": "arts_11895913",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11895913",
"found": true
},
"parent": 11895908,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/UnderTheSunCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1470341730,
"modified": 1470341751,
"caption": "Still from 'Under the Sun.'",
"description": null,
"title": "under-20the-20sun-2007_image-20courtesy-20icarus-20films",
"credit": "Courtesy Icarus Films",
"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_11975409": {
"type": "authors",
"id": "byline_arts_11975409",
"meta": {
"override": true
},
"slug": "byline_arts_11975409",
"name": "Hansi Lo Wang",
"isLoading": false
},
"byline_arts_11971684": {
"type": "authors",
"id": "byline_arts_11971684",
"meta": {
"override": true
},
"slug": "byline_arts_11971684",
"name": "Hilary Hughes",
"isLoading": false
},
"byline_arts_11967358": {
"type": "authors",
"id": "byline_arts_11967358",
"meta": {
"override": true
},
"slug": "byline_arts_11967358",
"name": "Merrit Kennedy",
"isLoading": false
},
"byline_arts_11952825": {
"type": "authors",
"id": "byline_arts_11952825",
"meta": {
"override": true
},
"slug": "byline_arts_11952825",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_11948186": {
"type": "authors",
"id": "byline_arts_11948186",
"meta": {
"override": true
},
"slug": "byline_arts_11948186",
"name": "Susan Stamberg",
"isLoading": false
},
"byline_arts_11944221": {
"type": "authors",
"id": "byline_arts_11944221",
"meta": {
"override": true
},
"slug": "byline_arts_11944221",
"name": "Carolyn Beans",
"isLoading": false
},
"byline_arts_11932158": {
"type": "authors",
"id": "byline_arts_11932158",
"meta": {
"override": true
},
"slug": "byline_arts_11932158",
"name": "James Doubek",
"isLoading": false
},
"byline_arts_11920449": {
"type": "authors",
"id": "byline_arts_11920449",
"meta": {
"override": true
},
"slug": "byline_arts_11920449",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_11920621": {
"type": "authors",
"id": "byline_arts_11920621",
"meta": {
"override": true
},
"slug": "byline_arts_11920621",
"name": "Tom Huizenga",
"isLoading": false
},
"byline_arts_11920256": {
"type": "authors",
"id": "byline_arts_11920256",
"meta": {
"override": true
},
"slug": "byline_arts_11920256",
"name": "Anthony Kuhn",
"isLoading": false
},
"byline_arts_11912508": {
"type": "authors",
"id": "byline_arts_11912508",
"meta": {
"override": true
},
"slug": "byline_arts_11912508",
"name": "Laura Sydell",
"isLoading": false
},
"byline_arts_11895908": {
"type": "authors",
"id": "byline_arts_11895908",
"meta": {
"override": true
},
"slug": "byline_arts_11895908",
"name": "Mark Jenkins",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.2584305
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 176
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 176
}
},
{
"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_11975409": {
"type": "posts",
"id": "arts_11975409",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11975409",
"score": null,
"sort": [
1472065251000
]
},
"guestAuthors": [],
"slug": "john-lennons-deportation-fight-paved-way-for-obamas-deferred-action-policy",
"title": "John Lennon's Deportation Fight Paved Way for Obama's Deferred Action Policy",
"publishDate": 1472065251,
"format": "standard",
"headTitle": "John Lennon’s Deportation Fight Paved Way for Obama’s Deferred Action Policy | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/490957803/491103757\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Back in 1972, John Lennon hired Leon Wildes, an immigration attorney who had no idea who he was.\u003c/p>\n\u003cp>Wildes’ son, Michael, remembers his father coming home to tell his mother about their first meeting.\u003c/p>\n\u003cp>“And he said, ‘A singer by the name of Jack Lemon and his wife Yoko Moto,’ ” Michael recalls. “My mom looked at him like he wasn’t well. ‘Are you talking about the Beatles and John Lennon?’ My father said, ‘Yeah!’ ”\u003c/p>\n\u003cp>Over the next five years, Lennon and Wildes often were caught on camera outside immigration court in New York City — as well as on late-night talk shows, such as NBC’s \u003cem>The Tomorrow Show With Tom Snyder\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \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=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "John Lennon once fought a deportation order to stay in the U.S. His lawyer uncovered documents that eventually led to a program to temporarily protect unauthorized immigrants from deportation.",
"status": "publish",
"parent": 0,
"modified": 1726787474,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 774
},
"headData": {
"title": "John Lennon's Deportation Fight Paved Way for Obama's Deferred Action Policy | KQED",
"description": "John Lennon once fought a deportation order to stay in the U.S. His lawyer uncovered documents that eventually led to a program to temporarily protect unauthorized immigrants from deportation.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "John Lennon's Deportation Fight Paved Way for Obama's Deferred Action Policy",
"datePublished": "2016-08-24T12:00:51-07:00",
"dateModified": "2024-09-19T16:11:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Anthony Camerano",
"nprByline": "Hansi Lo Wang",
"nprImageAgency": "AP",
"nprStoryId": "490957803",
"nprApiLink": "http://api.npr.org/query?id=490957803&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/08/23/490957803/john-lennons-deportation-fight-paved-way-to-obamas-deferred-action-policy?ft=nprml&f=490957803",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 24 Aug 2016 08:34:00 -0400",
"nprStoryDate": "Tue, 23 Aug 2016 16:42:00 -0400",
"nprLastModifiedDate": "Wed, 24 Aug 2016 08:34:24 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2016/08/20160823_atc_john_lennons_green_card_fight_paved_way_to_obamas_deferred_action_policy.mp3?orgId=1&topicId=1003&d=257&p=2&story=490957803&t=progseg&e=491014243&seg=16&ft=nprml&f=490957803",
"nprAudioM3u": "http://api.npr.org/m3u/1491103757-cf9865.m3u?orgId=1&topicId=1003&d=257&p=2&story=490957803&t=progseg&e=491014243&seg=16&ft=nprml&f=490957803",
"path": "/arts/11975409/john-lennons-deportation-fight-paved-way-for-obamas-deferred-action-policy",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2016/08/20160823_atc_john_lennons_green_card_fight_paved_way_to_obamas_deferred_action_policy.mp3?orgId=1&topicId=1003&d=257&p=2&story=490957803&t=progseg&e=491014243&seg=16&ft=nprml&f=490957803",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/490957803/491103757\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Back in 1972, John Lennon hired Leon Wildes, an immigration attorney who had no idea who he was.\u003c/p>\n\u003cp>Wildes’ son, Michael, remembers his father coming home to tell his mother about their first meeting.\u003c/p>\n\u003cp>“And he said, ‘A singer by the name of Jack Lemon and his wife Yoko Moto,’ ” Michael recalls. “My mom looked at him like he wasn’t well. ‘Are you talking about the Beatles and John Lennon?’ My father said, ‘Yeah!’ ”\u003c/p>\n\u003cp>Over the next five years, Lennon and Wildes often were caught on camera outside immigration court in New York City — as well as on late-night talk shows, such as NBC’s \u003cem>The Tomorrow Show With Tom Snyder\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \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=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11975409/john-lennons-deportation-fight-paved-way-for-obamas-deferred-action-policy",
"authors": [
"byline_arts_11975409"
],
"categories": [
"arts_73",
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11975410",
"label": "arts_137"
},
"arts_11971684": {
"type": "posts",
"id": "arts_11971684",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11971684",
"score": null,
"sort": [
1471985048000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1471985048,
"format": "standard",
"title": "The Tragic Turn of the Frightnrs' First — and Last — Record",
"headTitle": "The Tragic Turn of the Frightnrs’ First — and Last — Record | KQED",
"content": "\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271731134″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Klein may have been trying really hard — during his cover photo shoot, during the vocal sessions he tracked with the clock running out — for the big break he didn’t get to fully realize. But he wasn’t alone. \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+Tragic+Turn+of+the+Frightnrs%27+First+%E2%80%94+And+Last+%E2%80%94+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 3309,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 30
},
"modified": 1705033234,
"excerpt": "How a retro reggae band crafted a triumphant Daptone Records debut, all while racing against the most intimidating deadline possible.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "How a retro reggae band crafted a triumphant Daptone Records debut, all while racing against the most intimidating deadline possible.",
"title": "The Tragic Turn of the Frightnrs' First — and Last — Record | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Tragic Turn of the Frightnrs' First — and Last — Record",
"datePublished": "2016-08-23T13:44:08-07:00",
"dateModified": "2024-01-11T20:20:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-tragic-turn-of-the-frightnrs-first-and-last-record",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=490958536&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Hilary Hughes",
"nprStoryDate": "Tue, 23 Aug 2016 11:15:00 -0400",
"nprLastModifiedDate": "Tue, 23 Aug 2016 12:54:24 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2016/08/23/490958536/the-tragic-turn-of-the-frightnrs-first-and-last-record?ft=nprml&f=490958536",
"nprImageAgency": "Courtesy of the artist",
"nprImageCredit": "Kisha Bari",
"nprStoryId": "490958536",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 23 Aug 2016 12:54:00 -0400",
"path": "/arts/11971684/the-tragic-turn-of-the-frightnrs-first-and-last-record",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\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>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/271731134″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/271731134″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\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>Klein may have been trying really hard — during his cover photo shoot, during the vocal sessions he tracked with the clock running out — for the big break he didn’t get to fully realize. But he wasn’t alone. \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+Tragic+Turn+of+the+Frightnrs%27+First+%E2%80%94+And+Last+%E2%80%94+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11971684/the-tragic-turn-of-the-frightnrs-first-and-last-record",
"authors": [
"byline_arts_11971684"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11971685",
"label": "arts_137"
},
"arts_11967358": {
"type": "posts",
"id": "arts_11967358",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11967358",
"score": null,
"sort": [
1471893204000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1471893204,
"format": "standard",
"title": "Lou Pearlman, Boy Band Manager and Ponzi Schemer, Dies in Prison",
"headTitle": "Lou Pearlman, Boy Band Manager and Ponzi Schemer, Dies in Prison | KQED",
"content": "\u003cp>Lou Pearlman, the impresario behind boy band giants such as the Backstreet Boys and *NSYNC, has died in prison while serving a 25-year sentence tied to a $300 million Ponzi scheme.\u003c/p>\n\u003cp>The Federal Bureau of Prisons said 62-year-old Pearlman died Friday, without specifying a cause of death.\u003c/p>\n\u003cp>Along with the Ponzi scheme allegations, Pearlman faced accusations of sexual misconduct against numerous young boy band members, \u003ca href=\"http://www.vanityfair.com/news/2007/11/pearlman200711\" target=\"_blank\" rel=\"noopener\">first detailed in a 2007 Vanity Fair article\u003c/a>.\u003c/p>\n\u003cp>“Some, especially the teenagers, shrugged and giggled when he showed them pornographic movies or jumped naked on their beds in the morning to wrestle and play. Others, it appears, didn’t get off so easily,” the article read. “For any number of young men who sought to join the world’s greatest boy bands, Big Poppa’s attentions were an open secret, the price some paid for fame.”\u003c/p>\n\u003cp>Pearlman had denied the allegations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pearlman started in the aviation industry but shifted focus in the early ’90s to music. As NPR’s Rebecca Hersher told our Newscast unit, “Pearlman created the Backstreet Boys in 1993, after funding a talent search for young musicians in the Orlando area. The quintet went on to become the best-selling boy band ever.”\u003c/p>\n\u003cp>He later managed other successful boy bands such as *NSYNC, LFO, Take 5 and O-Town. But as Becky reported, “his pop empire fell apart when he was accused of pocketing the profits of his young proteges, and Florida regulators uncovered a multimillion-dollar Ponzi scheme.”\u003c/p>\n\u003cp>Pearlman “was ultimately sued by every act he represented except one,” \u003ca href=\"http://www.billboard.com/articles/news/7480171/lou-pearlman-dead\" target=\"_blank\" rel=\"noopener\">according to Billboard\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rollingstone.com/music/news/lou-pearlman-backstreet-boys-n-sync-svengali-dead-at-62-w435453\" target=\"_blank\" rel=\"noopener\">As Rolling Stone reported\u003c/a>, he fled the country but was taken into custody in Bali in 2007 and “indicted on charges of conspiracy, money laundering and making false statements.”\u003c/p>\n\u003cp>The elaborate scheme involved “nearly 2,000 investors, many of them elderly Florida retirees,” and took place over the course of 15 years, as \u003cem>Vanity Fair\u003c/em> reported.\u003c/p>\n\u003cp>https://twitter.com/jtimberlake/status/767366499585568768\u003c/p>\n\u003cp>https://twitter.com/IamCKirkpatrick/status/767167056416542722\u003c/p>\n\u003cp>The reaction to his death from former band members hints at complicated relationships. “I hope he found some peace. God bless and RIP, Lou Pearlman,” \u003ca href=\"https://twitter.com/jtimberlake/status/767366499585568768\">wrote Justin Timberlake\u003c/a>. “Mixed emotions right now, but RIP Lou Pearlman,” *NSYNC’s \u003ca href=\"https://twitter.com/IamCKirkpatrick/status/767167056416542722\">Chris Kirkpatrick tweeted\u003c/a>. Lance Bass \u003ca href=\"https://twitter.com/LanceBass/status/767136214692474880\">of *NSYNC wrote\u003c/a>, “He might not have been a stand up businessman, but I wouldn’t be doing what I love today [without] his influence.”\u003c/p>\n\u003cp>Pearlman “clung tenaciously to the notion that he can conquer the charts once more” during his time in prison, \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\" rel=\"noopener\">as The Hollywood Reporter wrote in 2014\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I deeply regret what happened,” he said in the interview with THR. “And I’ll be back.” \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=Lou+Pearlman%2C+Boy+Band+Manager+And+Ponzi+Schemer%2C+Dies+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 490,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705033247,
"excerpt": "Lou Pearlman, the impresario behind boy band giants such as the Backstreet Boys and *NSYNC, has died in prison while serving a 25-year sentence tied to a $300 million Ponzi scheme.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lou Pearlman, the impresario behind boy band giants such as the Backstreet Boys and *NSYNC, has died in prison while serving a 25-year sentence tied to a $300 million Ponzi scheme.",
"title": "Lou Pearlman, Boy Band Manager and Ponzi Schemer, Dies in Prison | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lou Pearlman, Boy Band Manager and Ponzi Schemer, Dies in Prison",
"datePublished": "2016-08-22T12:13:24-07:00",
"dateModified": "2024-01-11T20:20:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=490826928&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Merrit Kennedy",
"nprStoryDate": "Sun, 21 Aug 2016 13:46:00 -0400",
"nprLastModifiedDate": "Mon, 22 Aug 2016 12:11:35 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/08/21/490826928/lou-pearlman-backstreet-boys-nsync-boy-bands-dies-in-prison?ft=nprml&f=490826928",
"nprImageAgency": "WireImage/Getty Images",
"nprImageCredit": "Mark Weiss",
"nprStoryId": "490826928",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 22 Aug 2016 12:11:00 -0400",
"path": "/arts/11967358/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lou Pearlman, the impresario behind boy band giants such as the Backstreet Boys and *NSYNC, has died in prison while serving a 25-year sentence tied to a $300 million Ponzi scheme.\u003c/p>\n\u003cp>The Federal Bureau of Prisons said 62-year-old Pearlman died Friday, without specifying a cause of death.\u003c/p>\n\u003cp>Along with the Ponzi scheme allegations, Pearlman faced accusations of sexual misconduct against numerous young boy band members, \u003ca href=\"http://www.vanityfair.com/news/2007/11/pearlman200711\" target=\"_blank\" rel=\"noopener\">first detailed in a 2007 Vanity Fair article\u003c/a>.\u003c/p>\n\u003cp>“Some, especially the teenagers, shrugged and giggled when he showed them pornographic movies or jumped naked on their beds in the morning to wrestle and play. Others, it appears, didn’t get off so easily,” the article read. “For any number of young men who sought to join the world’s greatest boy bands, Big Poppa’s attentions were an open secret, the price some paid for fame.”\u003c/p>\n\u003cp>Pearlman had denied the allegations.\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>Pearlman started in the aviation industry but shifted focus in the early ’90s to music. As NPR’s Rebecca Hersher told our Newscast unit, “Pearlman created the Backstreet Boys in 1993, after funding a talent search for young musicians in the Orlando area. The quintet went on to become the best-selling boy band ever.”\u003c/p>\n\u003cp>He later managed other successful boy bands such as *NSYNC, LFO, Take 5 and O-Town. But as Becky reported, “his pop empire fell apart when he was accused of pocketing the profits of his young proteges, and Florida regulators uncovered a multimillion-dollar Ponzi scheme.”\u003c/p>\n\u003cp>Pearlman “was ultimately sued by every act he represented except one,” \u003ca href=\"http://www.billboard.com/articles/news/7480171/lou-pearlman-dead\" target=\"_blank\" rel=\"noopener\">according to Billboard\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rollingstone.com/music/news/lou-pearlman-backstreet-boys-n-sync-svengali-dead-at-62-w435453\" target=\"_blank\" rel=\"noopener\">As Rolling Stone reported\u003c/a>, he fled the country but was taken into custody in Bali in 2007 and “indicted on charges of conspiracy, money laundering and making false statements.”\u003c/p>\n\u003cp>The elaborate scheme involved “nearly 2,000 investors, many of them elderly Florida retirees,” and took place over the course of 15 years, as \u003cem>Vanity Fair\u003c/em> reported.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "767366499585568768"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "767167056416542722"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The reaction to his death from former band members hints at complicated relationships. “I hope he found some peace. God bless and RIP, Lou Pearlman,” \u003ca href=\"https://twitter.com/jtimberlake/status/767366499585568768\">wrote Justin Timberlake\u003c/a>. “Mixed emotions right now, but RIP Lou Pearlman,” *NSYNC’s \u003ca href=\"https://twitter.com/IamCKirkpatrick/status/767167056416542722\">Chris Kirkpatrick tweeted\u003c/a>. Lance Bass \u003ca href=\"https://twitter.com/LanceBass/status/767136214692474880\">of *NSYNC wrote\u003c/a>, “He might not have been a stand up businessman, but I wouldn’t be doing what I love today [without] his influence.”\u003c/p>\n\u003cp>Pearlman “clung tenaciously to the notion that he can conquer the charts once more” during his time in prison, \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\" rel=\"noopener\">as The Hollywood Reporter wrote in 2014\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I deeply regret what happened,” he said in the interview with THR. “And I’ll be back.” \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=Lou+Pearlman%2C+Boy+Band+Manager+And+Ponzi+Schemer%2C+Dies+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11967358/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison",
"authors": [
"byline_arts_11967358"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11967359",
"label": "arts_137"
},
"arts_11952825": {
"type": "posts",
"id": "arts_11952825",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11952825",
"score": null,
"sort": [
1471618817000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1471618817,
"format": "standard",
"title": "Dreamlike 'Kubo And The Two Strings' Offers A Gorgeous, Richly Textured Adventure",
"headTitle": "Dreamlike ‘Kubo And The Two Strings’ Offers A Gorgeous, Richly Textured Adventure | KQED",
"content": "\u003cp>With dark bangs draped over an eyepatch, a stack of colorful origami paper, and a two-stringed, lute-like instrument called a \u003cem>shamisen\u003c/em> strapped to his back, young Kubo heads into a seaside village to put on a street performance for spare change. As he rocks the \u003cem>shamisen\u003c/em> like the Joe Satriani of ancient Japan, the origami paper dances to life around him, folding into sharply edged characters and objects, and occasionally bursting into ribbons of confetti. He tells the legend of a great samurai warrior named Hanzo and the evil force that takes many forms in an effort to take him down. Kubo holds the villagers rapt, but inevitably disappoints them. He doesn’t know how the story ends. It will be his quest to find out.\u003c/p>\n\u003cp>“If you must blink, do it now” are the first words spoken in \u003cem>Kubo and the Two Strings\u003c/em>, a line that doubles as a primer and a brag about the abstract wonders to come. The film is asking the audience to accept every off-the-wall premise that it’s given, up to and including a \u003cem>shamisen\u003c/em> that can part a tidal wave or making origami figures dance like the runaway mops in Disney’s “The Sorcerer’s Apprentice.” There’s a strong internal logic to the dense mythology it creates, but first the barriers between life and death, reality and fantasy, and past and present must come down. In the magical world of \u003cem>Kubo\u003c/em>, these walls are transformed into pathways.\u003c/p>\n\u003cp>https://youtu.be/p4-6qJzeb3A\u003c/p>\n\u003cp>The fourth and, to date, best film from Laika, the Portland-based animation house responsible for \u003cem>Coraline\u003c/em>, \u003cem>ParaNorman\u003c/em>, and \u003cem>The Boxtrolls\u003c/em>, \u003cem>Kubo and the Two Strings\u003c/em> has more in common with the serene eccentricities of Japanese animator Hayao Miyazaki (\u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Spirited Away\u003c/em>) than American brands like Disney/Pixar, Blue Sky Studios, or Illumination Entertainment. Though the tactility and dimension of its 3D stop-motion process sets Laika apart, \u003cem>Kubo\u003c/em> has a specific faith that younger viewers will readily accept a world that has nothing in common with their own, save for the yearning of a child to complete his story and understand who he is.\u003c/p>\n\u003cp>Simply stated, the film is about Kubo’s quest to locate three items that will help protect him from the wrathful Moon King: the Sword Unbreakable, the Armor Impenetrable, and the Helmet Invulnerable. And it’s important to hold onto that basic goal, because the particulars of his adventure resist tidy description. Living in a rock cave with his sick mother, Kubo (voiced by Art Parkinson) discovers a terrible vendetta against them from his evil aunts, who appear like black-shroud ghosts in a Japanese horror picture, and the Moon King (Ralph Fiennes), his grandfather, who plucked out his eye as an infant and wants to claim the other one, too. (Another expectation of younger viewers: They’ll be able to withstand a little darkness.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Kubo is catapulted to a frosty, unfamiliar landscape, he gets some guidance on his journey from Monkey (Charlize Theron), an ally who materializes from a wooden totem his mother gave him, and a goofy human-insect hybrid named Beetle (Matthew McConaughey). They are pursued by supernatural threats that can appear in many different forms and their destination is so obscure that only Kubo’s dreams hint at where to go—and even then, it’s not a place that could be found by any compass or map.\u003c/p>\n\u003cp>In the topography of the imagination, there are no discernible trails leading from one location to the next. The greatness of \u003cem>Kubo and the Two Strings\u003c/em> is convincing the audience to understand that immediately and intuit their way through a narrative that must be experienced to be understood. Director Travis Knight and his animators make Kubo’s street performance a model for the film itself, which constructs an entire world out of origami paper—sharp-angled yet colorful and delicate, capable of folding into many different shapes and objects while subject to dramatic change, like being crumpled and thrown into the wastebasket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With \u003cem>Kubo\u003c/em>, Laika adds more texture to the dark beauty that’s been the house style since \u003cem>Coraline\u003c/em>, but it’s more emotionally expansive, too. There’s plenty of wry humor and samurai action to lighten the mood and a young hero who learns that decency, as much as courage and tenacity, can save the world. The film empowers children (and adults) to share in that idealism and dream along with it.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 770,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033263,
"excerpt": "The latest animated film from Laika Studios owes more to the emotional impressionism of Japanese anime master Hayao Miyazaki than the comparatively rigid and familiar story structure of Disney/Pixar.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The latest animated film from Laika Studios owes more to the emotional impressionism of Japanese anime master Hayao Miyazaki than the comparatively rigid and familiar story structure of Disney/Pixar.",
"title": "Dreamlike 'Kubo And The Two Strings' Offers A Gorgeous, Richly Textured Adventure | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dreamlike 'Kubo And The Two Strings' Offers A Gorgeous, Richly Textured Adventure",
"datePublished": "2016-08-19T08:00:17-07:00",
"dateModified": "2024-01-11T20:21:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dreamlike-kubo-and-the-two-strings-offers-a-gorgeous-richly-textured-adventure",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=490254864&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 18 Aug 2016 17:00:13 -0400",
"nprLastModifiedDate": "Thu, 18 Aug 2016 17:00:13 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/08/18/490254864/dreamlike-kubo-and-the-two-strings-offers-a-gorgeous-richly-textured-adventure?ft=nprml&f=490254864",
"nprImageAgency": "LAIKA / Focus Features",
"nprStoryId": "490254864",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 18 Aug 2016 17:00:00 -0400",
"path": "/arts/11952825/dreamlike-kubo-and-the-two-strings-offers-a-gorgeous-richly-textured-adventure",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With dark bangs draped over an eyepatch, a stack of colorful origami paper, and a two-stringed, lute-like instrument called a \u003cem>shamisen\u003c/em> strapped to his back, young Kubo heads into a seaside village to put on a street performance for spare change. As he rocks the \u003cem>shamisen\u003c/em> like the Joe Satriani of ancient Japan, the origami paper dances to life around him, folding into sharply edged characters and objects, and occasionally bursting into ribbons of confetti. He tells the legend of a great samurai warrior named Hanzo and the evil force that takes many forms in an effort to take him down. Kubo holds the villagers rapt, but inevitably disappoints them. He doesn’t know how the story ends. It will be his quest to find out.\u003c/p>\n\u003cp>“If you must blink, do it now” are the first words spoken in \u003cem>Kubo and the Two Strings\u003c/em>, a line that doubles as a primer and a brag about the abstract wonders to come. The film is asking the audience to accept every off-the-wall premise that it’s given, up to and including a \u003cem>shamisen\u003c/em> that can part a tidal wave or making origami figures dance like the runaway mops in Disney’s “The Sorcerer’s Apprentice.” There’s a strong internal logic to the dense mythology it creates, but first the barriers between life and death, reality and fantasy, and past and present must come down. In the magical world of \u003cem>Kubo\u003c/em>, these walls are transformed into pathways.\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/p4-6qJzeb3A'\n title='//www.youtube.com/embed/p4-6qJzeb3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fourth and, to date, best film from Laika, the Portland-based animation house responsible for \u003cem>Coraline\u003c/em>, \u003cem>ParaNorman\u003c/em>, and \u003cem>The Boxtrolls\u003c/em>, \u003cem>Kubo and the Two Strings\u003c/em> has more in common with the serene eccentricities of Japanese animator Hayao Miyazaki (\u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Spirited Away\u003c/em>) than American brands like Disney/Pixar, Blue Sky Studios, or Illumination Entertainment. Though the tactility and dimension of its 3D stop-motion process sets Laika apart, \u003cem>Kubo\u003c/em> has a specific faith that younger viewers will readily accept a world that has nothing in common with their own, save for the yearning of a child to complete his story and understand who he is.\u003c/p>\n\u003cp>Simply stated, the film is about Kubo’s quest to locate three items that will help protect him from the wrathful Moon King: the Sword Unbreakable, the Armor Impenetrable, and the Helmet Invulnerable. And it’s important to hold onto that basic goal, because the particulars of his adventure resist tidy description. Living in a rock cave with his sick mother, Kubo (voiced by Art Parkinson) discovers a terrible vendetta against them from his evil aunts, who appear like black-shroud ghosts in a Japanese horror picture, and the Moon King (Ralph Fiennes), his grandfather, who plucked out his eye as an infant and wants to claim the other one, too. (Another expectation of younger viewers: They’ll be able to withstand a little darkness.)\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 Kubo is catapulted to a frosty, unfamiliar landscape, he gets some guidance on his journey from Monkey (Charlize Theron), an ally who materializes from a wooden totem his mother gave him, and a goofy human-insect hybrid named Beetle (Matthew McConaughey). They are pursued by supernatural threats that can appear in many different forms and their destination is so obscure that only Kubo’s dreams hint at where to go—and even then, it’s not a place that could be found by any compass or map.\u003c/p>\n\u003cp>In the topography of the imagination, there are no discernible trails leading from one location to the next. The greatness of \u003cem>Kubo and the Two Strings\u003c/em> is convincing the audience to understand that immediately and intuit their way through a narrative that must be experienced to be understood. Director Travis Knight and his animators make Kubo’s street performance a model for the film itself, which constructs an entire world out of origami paper—sharp-angled yet colorful and delicate, capable of folding into many different shapes and objects while subject to dramatic change, like being crumpled and thrown into the wastebasket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With \u003cem>Kubo\u003c/em>, Laika adds more texture to the dark beauty that’s been the house style since \u003cem>Coraline\u003c/em>, but it’s more emotionally expansive, too. There’s plenty of wry humor and samurai action to lighten the mood and a young hero who learns that decency, as much as courage and tenacity, can save the world. The film empowers children (and adults) to share in that idealism and dream along with it.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11952825/dreamlike-kubo-and-the-two-strings-offers-a-gorgeous-richly-textured-adventure",
"authors": [
"byline_arts_11952825"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11952826",
"label": "arts_137"
},
"arts_11948186": {
"type": "posts",
"id": "arts_11948186",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11948186",
"score": null,
"sort": [
1471465694000
]
},
"guestAuthors": [],
"slug": "painter-romaine-brooks-challenged-conventions-in-shades-of-gray",
"title": "Painter Romaine Brooks Challenged Conventions in Shades of Gray",
"publishDate": 1471465694,
"format": "aside",
"headTitle": "Painter Romaine Brooks Challenged Conventions in Shades of Gray | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Twentieth century painter Romaine Brooks introduces herself in a 1923 self-portrait: She wears a narrowly cut, long, black riding jacket with a white blouse. She has short cropped hair, and her eyes are shadowed by a black high hat. There’s the slightest smudge of maybe pink on her lips — otherwise the whole portrait is black and various shades of gray.\u003c/p>\n\u003cfigure id=\"attachment_11948187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg\" alt=\"A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don't let her sober, 1923 'Self-Portrait' fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris.\" width=\"640\" height=\"1116\" class=\"size-large wp-image-11948187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg 677w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-400x697.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-344x600.jpg 344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-768x1339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff.jpg 803w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don’t let her sober, 1923 ‘Self-Portrait’ fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An American who lived in Paris, Brooks conveys loneliness, strength and vulnerability, says Joe Lucchesi, consulting curator of \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">an exhibit of Brooks’ work\u003c/a> at the Smithsonian — “a kind of careworn but very strong presence all combined in one.”\u003c/p>\n\u003cp>Brooks painted androgynous women and depicted nudes so melancholy they’d make Renoir’s pink ladies weep. She left most of her work to the American Art Museum, where her work is currently on view.\u003c/p>\n\u003cp>The women she paints share a severe palette and a certain mood. In their man-tailored jackets, their aesthetic sensibilities, their intense love relationships, Brooks’ women moved in the artistic circles of 1920s Paris. Poets, novelists, socialites, photographers and painters, they were fashionable and rich. Their money helped insulate them from social constraints of their day.\u003c/p>\n\u003cp>In Brooks’ case, money freed her to paint whatever and however she wanted — the unconventional, androgynous women, the limited, gloomy palette — and to ignore what her Big Guy contemporaries were doing — Picasso and Matisse, whose vivid and revolutionary canvases filled the homes of Gertrude Stein and family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She really painted as though Picasso and Matisse didn’t exist,” Lucchesi says.\u003c/p>\n\u003cfigure id=\"attachment_11948188\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg\" alt=\"Brooks' 1910 "Azalées Blanches" (White Azaleas) recalls Édouard Manet's 1863 "Olympia."\" width=\"640\" height=\"351\" class=\"size-large wp-image-11948188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-800x439.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-960x527.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks’ 1910 “Azalées Blanches” (White Azaleas) recalls Édouard Manet’s 1863 “Olympia.” \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Critics liked her, but she didn’t sell much — she didn’t have to. She’d inherited a fortune after a miserable childhood (her unpublished memoir is called \u003cem>No Pleasant Memories\u003c/em>). And so Brooks could mix her whites and blacks into shades of grays and paint \u003cem>White Azaleas\u003c/em> — her 1910 take on Édouard Manet’s famous \u003ca href=\"http://www.musee-orsay.fr/en/collections/works-in-focus/search.html?no_cache=1&zoom=1&tx_damzoom_pi1%5BshowUid%5D=4042\" target=\"_blank\" rel=\"noopener\">Olympia\u003c/a>, nude reclining on couch, staring into space, as a servant brings her a huge arrangement of flowers.\u003c/p>\n\u003cp>“It’s wistful in some ways,” says Smithsonian curator Virginia Mecklenburg. “Wistful, maybe wishful also, but there’s an erotic undertone to Brooks’ nudes. There is some sort of a longing … if not [for] sexual encounter, for emotional intimacy is probably a better way to put it.”\u003c/p>\n\u003cfigure id=\"attachment_11948189\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg\" alt='Brooks sold reproductions of her 1914 \"La France Croisée\" to raise money for the Red Cross during World War I.' width=\"640\" height=\"887\" class=\"size-large wp-image-11948189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63.jpg 1010w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks sold reproductions of her 1914 “La France Croisée” to raise money for the Red Cross during World War I. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her bare body twists in our direction — she’s making herself very available. But there’s no come hither in the twist, just melancholy gloom.\u003c/p>\n\u003cp>Brooks and her circle of wealthy women lead gloomy lives on canvas, but Mecklenburg says on the streets, it was different.\u003c/p>\n\u003cp>“They were having a good time in Paris in the teens and the ’20s,” she says. “On the Bois de Boulogne, taking carriage rides, on horses, going to parties, there was a really active, high-energy, friendly, fun relationship among all these women.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">the Romaine Brooks show\u003c/a> at the American Art Museum, you might wish some of that fun showed up on the canvases — but what \u003cem>is \u003c/em>there is a brave sense of modernity and freedom. \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=Painter+Romaine+Brooks+Challenged+Conventions+In+Shades+Of+Gray&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A wealthy American living in Paris, Brooks had the freedom to paint whatever and however she wanted. In a subtle but powerful palette, she depicted androgynous women and melancholy nudes.",
"status": "publish",
"parent": 0,
"modified": 1726771081,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 668
},
"headData": {
"title": "Painter Romaine Brooks Challenged Conventions in Shades of Gray | KQED",
"description": "A wealthy American living in Paris, Brooks had the freedom to paint whatever and however she wanted. In a subtle but powerful palette, she depicted androgynous women and melancholy nudes.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Painter Romaine Brooks Challenged Conventions in Shades of Gray",
"datePublished": "2016-08-17T13:28:14-07:00",
"dateModified": "2024-09-19T11:38:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Susan Stamberg",
"nprImageAgency": "Smithsonian American Art Museum",
"nprStoryId": "489757481",
"nprApiLink": "http://api.npr.org/query?id=489757481&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/08/17/489757481/painter-romaine-brooks-challenged-conventions-in-shades-of-gray?ft=nprml&f=489757481",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 17 Aug 2016 11:36:00 -0400",
"nprStoryDate": "Wed, 17 Aug 2016 04:35:00 -0400",
"nprLastModifiedDate": "Wed, 17 Aug 2016 11:36:46 -0400",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/08/20160817_me_painter_romaine_brooks_challenged_conventions_in_shades_of_gray.mp3?orgId=1&topicId=1141&d=212&p=3&story=489757481&t=progseg&e=490300864&seg=9&ft=nprml&f=489757481",
"nprAudioM3u": "http://api.npr.org/m3u/1490314081-8d23f6.m3u?orgId=1&topicId=1141&d=212&p=3&story=489757481&t=progseg&e=490300864&seg=9&ft=nprml&f=489757481",
"path": "/arts/11948186/painter-romaine-brooks-challenged-conventions-in-shades-of-gray",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/08/20160817_me_painter_romaine_brooks_challenged_conventions_in_shades_of_gray.mp3?orgId=1&topicId=1141&d=212&p=3&story=489757481&t=progseg&e=490300864&seg=9&ft=nprml&f=489757481",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twentieth century painter Romaine Brooks introduces herself in a 1923 self-portrait: She wears a narrowly cut, long, black riding jacket with a white blouse. She has short cropped hair, and her eyes are shadowed by a black high hat. There’s the slightest smudge of maybe pink on her lips — otherwise the whole portrait is black and various shades of gray.\u003c/p>\n\u003cfigure id=\"attachment_11948187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg\" alt=\"A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don't let her sober, 1923 'Self-Portrait' fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris.\" width=\"640\" height=\"1116\" class=\"size-large wp-image-11948187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg 677w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-400x697.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-344x600.jpg 344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-768x1339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff.jpg 803w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don’t let her sober, 1923 ‘Self-Portrait’ fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An American who lived in Paris, Brooks conveys loneliness, strength and vulnerability, says Joe Lucchesi, consulting curator of \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">an exhibit of Brooks’ work\u003c/a> at the Smithsonian — “a kind of careworn but very strong presence all combined in one.”\u003c/p>\n\u003cp>Brooks painted androgynous women and depicted nudes so melancholy they’d make Renoir’s pink ladies weep. She left most of her work to the American Art Museum, where her work is currently on view.\u003c/p>\n\u003cp>The women she paints share a severe palette and a certain mood. In their man-tailored jackets, their aesthetic sensibilities, their intense love relationships, Brooks’ women moved in the artistic circles of 1920s Paris. Poets, novelists, socialites, photographers and painters, they were fashionable and rich. Their money helped insulate them from social constraints of their day.\u003c/p>\n\u003cp>In Brooks’ case, money freed her to paint whatever and however she wanted — the unconventional, androgynous women, the limited, gloomy palette — and to ignore what her Big Guy contemporaries were doing — Picasso and Matisse, whose vivid and revolutionary canvases filled the homes of Gertrude Stein and family.\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>“She really painted as though Picasso and Matisse didn’t exist,” Lucchesi says.\u003c/p>\n\u003cfigure id=\"attachment_11948188\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg\" alt=\"Brooks' 1910 "Azalées Blanches" (White Azaleas) recalls Édouard Manet's 1863 "Olympia."\" width=\"640\" height=\"351\" class=\"size-large wp-image-11948188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-800x439.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-960x527.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks’ 1910 “Azalées Blanches” (White Azaleas) recalls Édouard Manet’s 1863 “Olympia.” \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Critics liked her, but she didn’t sell much — she didn’t have to. She’d inherited a fortune after a miserable childhood (her unpublished memoir is called \u003cem>No Pleasant Memories\u003c/em>). And so Brooks could mix her whites and blacks into shades of grays and paint \u003cem>White Azaleas\u003c/em> — her 1910 take on Édouard Manet’s famous \u003ca href=\"http://www.musee-orsay.fr/en/collections/works-in-focus/search.html?no_cache=1&zoom=1&tx_damzoom_pi1%5BshowUid%5D=4042\" target=\"_blank\" rel=\"noopener\">Olympia\u003c/a>, nude reclining on couch, staring into space, as a servant brings her a huge arrangement of flowers.\u003c/p>\n\u003cp>“It’s wistful in some ways,” says Smithsonian curator Virginia Mecklenburg. “Wistful, maybe wishful also, but there’s an erotic undertone to Brooks’ nudes. There is some sort of a longing … if not [for] sexual encounter, for emotional intimacy is probably a better way to put it.”\u003c/p>\n\u003cfigure id=\"attachment_11948189\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg\" alt='Brooks sold reproductions of her 1914 \"La France Croisée\" to raise money for the Red Cross during World War I.' width=\"640\" height=\"887\" class=\"size-large wp-image-11948189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63.jpg 1010w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks sold reproductions of her 1914 “La France Croisée” to raise money for the Red Cross during World War I. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her bare body twists in our direction — she’s making herself very available. But there’s no come hither in the twist, just melancholy gloom.\u003c/p>\n\u003cp>Brooks and her circle of wealthy women lead gloomy lives on canvas, but Mecklenburg says on the streets, it was different.\u003c/p>\n\u003cp>“They were having a good time in Paris in the teens and the ’20s,” she says. “On the Bois de Boulogne, taking carriage rides, on horses, going to parties, there was a really active, high-energy, friendly, fun relationship among all these women.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">the Romaine Brooks show\u003c/a> at the American Art Museum, you might wish some of that fun showed up on the canvases — but what \u003cem>is \u003c/em>there is a brave sense of modernity and freedom. \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=Painter+Romaine+Brooks+Challenged+Conventions+In+Shades+Of+Gray&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11948186/painter-romaine-brooks-challenged-conventions-in-shades-of-gray",
"authors": [
"byline_arts_11948186"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11948213",
"label": "arts_137"
},
"arts_11944221": {
"type": "posts",
"id": "arts_11944221",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11944221",
"score": null,
"sort": [
1471380553000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1471380553,
"format": "standard",
"title": "Philly Artist Tastes the Rainbow and Saves the Wrappers",
"headTitle": "Philly Artist Tastes the Rainbow and Saves the Wrappers | KQED",
"content": "\u003cp>Sean Brown knows his way around a candy shop.\u003c/p>\n\u003cp>“My candy knowledge is pretty crazy,” he says. “Put me up against anyone in a candy battle — and I’ll beat them.”\u003c/p>\n\u003cfigure id=\"attachment_11944223\" class=\"wp-caption alignright\" style=\"max-width: 433px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg\" alt=\"Philly-based artist Sean Brown transforms the refuse from candy wrappers into art.\" width=\"433\" height=\"600\" class=\"size-medium wp-image-11944223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-852x1180.jpg 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e.jpg 866w\" sizes=\"(max-width: 433px) 100vw, 433px\">\u003cfigcaption class=\"wp-caption-text\">Philly-based artist Sean Brown transforms the refuse from candy wrappers into art. \u003ccite>(Photo: Veronica Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003ca href=\"https://seanebrown.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Brown\u003c/a> is less interested in the candy than the wrappers. For the past five years, this Philly-based artist and (full disclosure!) former neighbor of mine, has been transforming the refuse from Skittles, Tootsie Pops, Starburst, Mamba — and whatever other candy he can get his hands on — into works of art.\u003c/p>\n\u003cp>Many of the pieces celebrate famous individuals or pay homage to the artists who inspire him. He’s done \u003ca href=\"https://seanebrown.files.wordpress.com/2014/09/st.jpg\">Questlove\u003c/a> in Tootsie Pops and \u003ca href=\"https://seanebrown.wordpress.com/2016/07/29/marilyn/\" target=\"_blank\" rel=\"noopener\">Warhol’s “Marilyn”\u003c/a> in Tootsie Pops, Mamba, Starburst and Andes Creme de Menthe Thins.\u003c/p>\n\u003cp>Brown, who’s been working as an artist since graduating from the Art Institute of Philadelphia in 2007, presents his work in art shows primarily in the Philadelphia and New York areas. His next show is this Sunday at \u003ca href=\"http://www.madgallerynyc.com/\" target=\"_blank\" rel=\"noopener\">MAD Gallery\u003c/a> in New York.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s sold over 100 of his candy wrapper works, which ranged in price from $50 for a simple depiction of a banana to $5,000 for a detailed remake of a Gustav Klimt work.\u003c/p>\n\u003cp>His hues are limited by his candy wrapper palette — which turns out to be no limitation at all.\u003c/p>\n\u003cfigure id=\"attachment_11944224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg\" alt='\"I Saw the Figure 5 in Starburst.\" Starburst wrappers, acrylic and ink on canvas. 2011.' width=\"640\" height=\"787\" class=\"size-large wp-image-11944224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-488x600.jpg 488w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-768x944.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-1180x1451.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2.jpg 1627w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“I Saw the Figure 5 in Starburst.” Starburst wrappers, acrylic and ink on canvas. 2011. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had always liked taking candy wrappers off as neatly as possible, and I always liked to keep them as flat as possible,” Brown says. “One day I was sitting with a friend and eating a bunch of candy and I looked at the pile of trash and I thought, ‘I’m going to use this.’… I started putting them on canvasses.”\u003c/p>\n\u003cp>Brown’s first candy wrapper piece was a take on the painting “\u003ca href=\"http://www.metmuseum.org/art/collection/search/488315\" target=\"_blank\" rel=\"noopener\">I Saw the Figure 5 in Gold\u003c/a>” by Charles Demuth. Then he moved on to Warhol and Lichtenstein.\u003c/p>\n\u003cp>“The paintings that I liked, I would recreate but with candy wrappers,” Brown says.\u003c/p>\n\u003cfigure id=\"attachment_11944225\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg\" alt=\"At Brown's studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">At Brown’s studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Brown’s art shows, he lays out a pile of candy along with a bucket that says, “Enjoy the candy! (I want your wrapper).”\u003c/p>\n\u003cp>These days, he says, “I mostly like other people to eat [the candy]. I’m trying to save myself the diabetes.” He gets a lot of wrappers from donations through word of mouth. “People get excited about the idea,” he says.\u003c/p>\n\u003cp>Tootsie Roll has also sent him boxes of candy and rolls of uncut wrappers.\u003c/p>\n\u003cfigure id=\"attachment_11944226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg\" alt='\"Nat Geo Too.\" Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015.' width=\"640\" height=\"856\" class=\"size-large wp-image-11944226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg 882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-449x600.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-1180x1579.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-960x1284.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773.jpg 1495w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Nat Geo Too.” Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown describes the Starburst color palette as grand.\u003c/p>\n\u003cp>“Starburst has 11 different shades of red” and also offers good flesh tones, he explains. “Mamba actually also has really good flesh tones. I think I like them better than Starburst. They’re softer and creamier.”\u003c/p>\n\u003cp>Brown is now working on a series he calls Mary POPpuns where — you guessed it — all the works involve puns. He’s already completed the series’s title piece, which relies heavily on lollipop wrappers.\u003c/p>\n\u003cp>Brown envisions candy wrappers will be a part of his art for years to come. “Candy is not going anywhere and they are always going to come out with new flavors and new colors. And [candy] offers that piece of nostalgia for some people.”\u003c/p>\n\u003cfigure id=\"attachment_11944227\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg\" alt=\""Mary Jane's Bones & Bows." Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Mary Jane’s Bones & Bows.” Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012. \u003ccite>(Photo: Carolyn Beans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nostalgia is exactly what prompted my brother to buy me this piece, one of 99 bananas that make up a Warhol-inspired series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My grandmother kept a cabinet full of candy within easy reach of her grand kids. I always went for the Mary Janes. But I never thought to save the wrappers. \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=Philly+Artist+Tastes+The+Rainbow+And+Saves+The+Wrappers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 764,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705033300,
"excerpt": "Philly-based artist Sean Brown transforms the refuse from Skittles, Tootsie Pops, Starburst, Mamba — and whatever other candy he can get his hands on — into works of art.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Philly-based artist Sean Brown transforms the refuse from Skittles, Tootsie Pops, Starburst, Mamba — and whatever other candy he can get his hands on — into works of art.",
"title": "Philly Artist Tastes the Rainbow and Saves the Wrappers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Philly Artist Tastes the Rainbow and Saves the Wrappers",
"datePublished": "2016-08-16T13:49:13-07:00",
"dateModified": "2024-01-11T20:21:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "philly-artist-tastes-the-rainbow-and-saves-the-wrappers",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=489305156&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Carolyn Beans",
"nprStoryDate": "Sat, 13 Aug 2016 08:00:17 -0400",
"nprLastModifiedDate": "Sat, 13 Aug 2016 08:00:17 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thesalt/2016/08/13/489305156/philly-artist-tastes-the-rainbow-and-saves-the-wrappers?ft=nprml&f=489305156",
"nprImageAgency": "Courtesy of Sean Brown",
"nprStoryId": "489305156",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 13 Aug 2016 08:00:00 -0400",
"path": "/arts/11944221/philly-artist-tastes-the-rainbow-and-saves-the-wrappers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean Brown knows his way around a candy shop.\u003c/p>\n\u003cp>“My candy knowledge is pretty crazy,” he says. “Put me up against anyone in a candy battle — and I’ll beat them.”\u003c/p>\n\u003cfigure id=\"attachment_11944223\" class=\"wp-caption alignright\" style=\"max-width: 433px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg\" alt=\"Philly-based artist Sean Brown transforms the refuse from candy wrappers into art.\" width=\"433\" height=\"600\" class=\"size-medium wp-image-11944223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-852x1180.jpg 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e.jpg 866w\" sizes=\"(max-width: 433px) 100vw, 433px\">\u003cfigcaption class=\"wp-caption-text\">Philly-based artist Sean Brown transforms the refuse from candy wrappers into art. \u003ccite>(Photo: Veronica Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003ca href=\"https://seanebrown.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Brown\u003c/a> is less interested in the candy than the wrappers. For the past five years, this Philly-based artist and (full disclosure!) former neighbor of mine, has been transforming the refuse from Skittles, Tootsie Pops, Starburst, Mamba — and whatever other candy he can get his hands on — into works of art.\u003c/p>\n\u003cp>Many of the pieces celebrate famous individuals or pay homage to the artists who inspire him. He’s done \u003ca href=\"https://seanebrown.files.wordpress.com/2014/09/st.jpg\">Questlove\u003c/a> in Tootsie Pops and \u003ca href=\"https://seanebrown.wordpress.com/2016/07/29/marilyn/\" target=\"_blank\" rel=\"noopener\">Warhol’s “Marilyn”\u003c/a> in Tootsie Pops, Mamba, Starburst and Andes Creme de Menthe Thins.\u003c/p>\n\u003cp>Brown, who’s been working as an artist since graduating from the Art Institute of Philadelphia in 2007, presents his work in art shows primarily in the Philadelphia and New York areas. His next show is this Sunday at \u003ca href=\"http://www.madgallerynyc.com/\" target=\"_blank\" rel=\"noopener\">MAD Gallery\u003c/a> in New York.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s sold over 100 of his candy wrapper works, which ranged in price from $50 for a simple depiction of a banana to $5,000 for a detailed remake of a Gustav Klimt work.\u003c/p>\n\u003cp>His hues are limited by his candy wrapper palette — which turns out to be no limitation at all.\u003c/p>\n\u003cfigure id=\"attachment_11944224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg\" alt='\"I Saw the Figure 5 in Starburst.\" Starburst wrappers, acrylic and ink on canvas. 2011.' width=\"640\" height=\"787\" class=\"size-large wp-image-11944224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-488x600.jpg 488w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-768x944.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-1180x1451.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2.jpg 1627w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“I Saw the Figure 5 in Starburst.” Starburst wrappers, acrylic and ink on canvas. 2011. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had always liked taking candy wrappers off as neatly as possible, and I always liked to keep them as flat as possible,” Brown says. “One day I was sitting with a friend and eating a bunch of candy and I looked at the pile of trash and I thought, ‘I’m going to use this.’… I started putting them on canvasses.”\u003c/p>\n\u003cp>Brown’s first candy wrapper piece was a take on the painting “\u003ca href=\"http://www.metmuseum.org/art/collection/search/488315\" target=\"_blank\" rel=\"noopener\">I Saw the Figure 5 in Gold\u003c/a>” by Charles Demuth. Then he moved on to Warhol and Lichtenstein.\u003c/p>\n\u003cp>“The paintings that I liked, I would recreate but with candy wrappers,” Brown says.\u003c/p>\n\u003cfigure id=\"attachment_11944225\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg\" alt=\"At Brown's studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">At Brown’s studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Brown’s art shows, he lays out a pile of candy along with a bucket that says, “Enjoy the candy! (I want your wrapper).”\u003c/p>\n\u003cp>These days, he says, “I mostly like other people to eat [the candy]. I’m trying to save myself the diabetes.” He gets a lot of wrappers from donations through word of mouth. “People get excited about the idea,” he says.\u003c/p>\n\u003cp>Tootsie Roll has also sent him boxes of candy and rolls of uncut wrappers.\u003c/p>\n\u003cfigure id=\"attachment_11944226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg\" alt='\"Nat Geo Too.\" Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015.' width=\"640\" height=\"856\" class=\"size-large wp-image-11944226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg 882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-449x600.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-1180x1579.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-960x1284.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773.jpg 1495w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Nat Geo Too.” Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown describes the Starburst color palette as grand.\u003c/p>\n\u003cp>“Starburst has 11 different shades of red” and also offers good flesh tones, he explains. “Mamba actually also has really good flesh tones. I think I like them better than Starburst. They’re softer and creamier.”\u003c/p>\n\u003cp>Brown is now working on a series he calls Mary POPpuns where — you guessed it — all the works involve puns. He’s already completed the series’s title piece, which relies heavily on lollipop wrappers.\u003c/p>\n\u003cp>Brown envisions candy wrappers will be a part of his art for years to come. “Candy is not going anywhere and they are always going to come out with new flavors and new colors. And [candy] offers that piece of nostalgia for some people.”\u003c/p>\n\u003cfigure id=\"attachment_11944227\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg\" alt=\""Mary Jane's Bones & Bows." Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Mary Jane’s Bones & Bows.” Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012. \u003ccite>(Photo: Carolyn Beans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nostalgia is exactly what prompted my brother to buy me this piece, one of 99 bananas that make up a Warhol-inspired series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My grandmother kept a cabinet full of candy within easy reach of her grand kids. I always went for the Mary Janes. But I never thought to save the wrappers. \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=Philly+Artist+Tastes+The+Rainbow+And+Saves+The+Wrappers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11944221/philly-artist-tastes-the-rainbow-and-saves-the-wrappers",
"authors": [
"byline_arts_11944221"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11944222",
"label": "arts_137"
},
"arts_11932158": {
"type": "posts",
"id": "arts_11932158",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11932158",
"score": null,
"sort": [
1471118943000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1471118943,
"format": "standard",
"title": "'Star Wars' Actor Kenny Baker, Who Played R2-D2, has Died",
"headTitle": "‘Star Wars’ Actor Kenny Baker, Who Played R2-D2, has Died | KQED",
"content": "\u003cp>Rarely has an actor not seen or heard made such a big impact.\u003c/p>\n\u003cp>Kenny Baker, the actor who played R2-D2 in six of the Star Wars films, died Saturday, his agent confirms to NPR.\u003c/p>\n\u003cp>Standing at 3 feet 8 inches tall, the British actor also appeared in \u003cem>The Elephant Man\u003c/em>, \u003cem>Time Bandits\u003c/em> and \u003cem>Flash Gordon\u003c/em>, among other films.\u003c/p>\n\u003cp>“He was just a lovely guy,” said agent Johnny Mans, “and I shall miss him terribly.”\u003c/p>\n\u003cp>Baker rose to fame in 1977 as R2-D2 in the first \u003cem>Star Wars\u003c/em>, the speechless droid “counterpart” to the chatty C-3PO. Mans says that Baker told people that was his favorite role, though he enjoyed being actually seen in other roles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baker suffered from chest problems in his later years and was confined to a wheelchair more recently, but he would still sign autographs, Mans says.\u003c/p>\n\u003cp>Baker was born in Birmingham, England and began performing at age 16 “as a circus clown, nightclub performer and in pantomime,” \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37072736?ns_mchannel=social&ns_campaign=bbc_breaking&ns_source=twitter&ns_linkname=news_central\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>. He was part of a comedy and music duo called the “Mini Tones” with partner Jack Purvis before beginning in the movie business, Mans says.\u003c/p>\n\u003cp>Mans recalls that Baker didn’t always want to be treated differently because of his height.\u003c/p>\n\u003cp>“A lot of people used to, when they were talking to him, they would bend down and talk to Kenny because he was short,” he recalls. “And he used to say to them, ‘Listen, I’m short, not deaf.’ ”\u003c/p>\n\u003cp>Baker’s niece Abigail Shield \u003ca href=\"https://www.theguardian.com/film/2016/aug/13/kenny-baker-r2-d2-dies-star-wars\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“It was expected, but it’s sad nonetheless. He had a very long and fulfilled life. He brought lots of happiness to people and we’ll be celebrating the fact that he was well loved throughout the world. We’re all very proud of what he achieved in his lifetime.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He was found Saturday morning by his nephew. Baker is survived by two sons, a niece and nephew. His wife Eileen died in 1993, the BBC reported.\u003c/p>\n\u003cp>In speaking to NPR, Mans called Baker “a great friend” who “will be sadly missed.”\u003c/p>\n\u003cp>Tributes to Baker poured in from fans and colleagues on Twitter: \u003c/p>\n\u003cp>https://twitter.com/HamillHimself/status/764532827001991168\u003c/p>\n\u003cp>https://twitter.com/DarickR/status/764524387659808772\u003c/p>\n\u003cp>https://twitter.com/20thcenturyfox/status/764518830370656256\u003c/p>\n\u003cp>https://twitter.com/Daniel_Logan/status/764515749960581121\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/pettycommajared/status/764522737675173888\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=%27Star+Wars%27+Actor+Kenny+Baker%2C+Who+Played+R2-D2%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 430,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705033318,
"excerpt": "Best known for playing R2-D2 in six Star Wars films, a role where he was unseen, the actor was found Saturday morning by his nephew.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Best known for playing R2-D2 in six Star Wars films, a role where he was unseen, the actor was found Saturday morning by his nephew.",
"title": "'Star Wars' Actor Kenny Baker, Who Played R2-D2, has Died | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Star Wars' Actor Kenny Baker, Who Played R2-D2, has Died",
"datePublished": "2016-08-13T13:09:03-07:00",
"dateModified": "2024-01-11T20:21:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "star-wars-actor-kenny-baker-who-played-r2-d2-has-died",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=489908274&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "James Doubek",
"nprStoryDate": "Sat, 13 Aug 2016 15:08:00 -0400",
"nprLastModifiedDate": "Sat, 13 Aug 2016 15:18:06 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/08/13/489908274/star-wars-actor-kenny-baker-who-played-r2-d2-has-died?ft=nprml&f=489908274",
"nprImageAgency": "AP",
"nprImageCredit": "Reed Saxon",
"nprStoryId": "489908274",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 13 Aug 2016 15:08:00 -0400",
"path": "/arts/11932158/star-wars-actor-kenny-baker-who-played-r2-d2-has-died",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rarely has an actor not seen or heard made such a big impact.\u003c/p>\n\u003cp>Kenny Baker, the actor who played R2-D2 in six of the Star Wars films, died Saturday, his agent confirms to NPR.\u003c/p>\n\u003cp>Standing at 3 feet 8 inches tall, the British actor also appeared in \u003cem>The Elephant Man\u003c/em>, \u003cem>Time Bandits\u003c/em> and \u003cem>Flash Gordon\u003c/em>, among other films.\u003c/p>\n\u003cp>“He was just a lovely guy,” said agent Johnny Mans, “and I shall miss him terribly.”\u003c/p>\n\u003cp>Baker rose to fame in 1977 as R2-D2 in the first \u003cem>Star Wars\u003c/em>, the speechless droid “counterpart” to the chatty C-3PO. Mans says that Baker told people that was his favorite role, though he enjoyed being actually seen in other roles.\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>Baker suffered from chest problems in his later years and was confined to a wheelchair more recently, but he would still sign autographs, Mans says.\u003c/p>\n\u003cp>Baker was born in Birmingham, England and began performing at age 16 “as a circus clown, nightclub performer and in pantomime,” \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37072736?ns_mchannel=social&ns_campaign=bbc_breaking&ns_source=twitter&ns_linkname=news_central\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>. He was part of a comedy and music duo called the “Mini Tones” with partner Jack Purvis before beginning in the movie business, Mans says.\u003c/p>\n\u003cp>Mans recalls that Baker didn’t always want to be treated differently because of his height.\u003c/p>\n\u003cp>“A lot of people used to, when they were talking to him, they would bend down and talk to Kenny because he was short,” he recalls. “And he used to say to them, ‘Listen, I’m short, not deaf.’ ”\u003c/p>\n\u003cp>Baker’s niece Abigail Shield \u003ca href=\"https://www.theguardian.com/film/2016/aug/13/kenny-baker-r2-d2-dies-star-wars\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“It was expected, but it’s sad nonetheless. He had a very long and fulfilled life. He brought lots of happiness to people and we’ll be celebrating the fact that he was well loved throughout the world. We’re all very proud of what he achieved in his lifetime.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He was found Saturday morning by his nephew. Baker is survived by two sons, a niece and nephew. His wife Eileen died in 1993, the BBC reported.\u003c/p>\n\u003cp>In speaking to NPR, Mans called Baker “a great friend” who “will be sadly missed.”\u003c/p>\n\u003cp>Tributes to Baker poured in from fans and colleagues on Twitter: \u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "764532827001991168"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "764524387659808772"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "764518830370656256"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "764515749960581121"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "764522737675173888"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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=%27Star+Wars%27+Actor+Kenny+Baker%2C+Who+Played+R2-D2%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11932158/star-wars-actor-kenny-baker-who-played-r2-d2-has-died",
"authors": [
"byline_arts_11932158"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11932159",
"label": "arts_137"
},
"arts_11920449": {
"type": "posts",
"id": "arts_11920449",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11920449",
"score": null,
"sort": [
1471014042000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1471014042,
"format": "standard",
"title": "In 'Equity,' Wall Street's Glass Towers Have Glass Ceilings",
"headTitle": "In ‘Equity,’ Wall Street’s Glass Towers Have Glass Ceilings | KQED",
"content": "\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/Xg2TSp5tJy4\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 902,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705033326,
"excerpt": "Anna Gunn plays a Manhattan investment banker determined to succeed, but powerful men -- and slack film-making -- let her down.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Anna Gunn plays a Manhattan investment banker determined to succeed, but powerful men -- and slack film-making -- let her down.",
"title": "In 'Equity,' Wall Street's Glass Towers Have Glass Ceilings | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Equity,' Wall Street's Glass Towers Have Glass Ceilings",
"datePublished": "2016-08-12T08:00:42-07:00",
"dateModified": "2024-01-11T20:22:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-equity-wall-streets-glass-towers-have-glass-ceilings",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=486943297&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 28 Jul 2016 17:00:00 -0400",
"nprLastModifiedDate": "Fri, 29 Jul 2016 17:29:41 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/07/28/486943297/in-equity-wall-streets-glass-towers-have-glass-ceilings?ft=nprml&f=486943297",
"nprImageAgency": "Sony Pictures Classics",
"nprStoryId": "486943297",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 29 Jul 2016 17:29:00 -0400",
"path": "/arts/11920449/in-equity-wall-streets-glass-towers-have-glass-ceilings",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\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>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Xg2TSp5tJy4'\n title='//www.youtube.com/embed/Xg2TSp5tJy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11920449/in-equity-wall-streets-glass-towers-have-glass-ceilings",
"authors": [
"byline_arts_11920449"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11920450",
"label": "arts_137"
},
"arts_11920621": {
"type": "posts",
"id": "arts_11920621",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11920621",
"score": null,
"sort": [
1470866423000
]
},
"guestAuthors": [],
"slug": "killing-me-sharply-with-her-song-the-improbable-story-of-florence-foster-jenkins",
"title": "Killing Me Sharply with Her Song: The Improbable Story of Florence Foster Jenkins",
"publishDate": 1470866423,
"format": "standard",
"headTitle": "Killing Me Sharply with Her Song: The Improbable Story of Florence Foster Jenkins | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>A new film starring Meryl Streep, which opens in the U.S. Friday, tells the improbable story of Florence Foster Jenkins, a real-life New York socialite who pronounced herself a coloratura soprano despite a distinct lack of talent. Who could’ve guessed that Jenkins, who favored elaborate costumes and strangled phrases with abandon, would resurface with such gusto decades after her death in 1944. She’s been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=sRW-zxTpLxQ\" target=\"_blank\" rel=\"noopener\">Broadway play\u003c/a> starring Judy Kaye, a new biography, a \u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">documentary\u003c/a> and now two movies released in the U.S. within the span of six months.\u003c/p>\n\u003cp>The film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HszfdNS0JSc\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>, directed by Stephen Frears (\u003cem>My Beautiful Laundrette\u003c/em>, \u003cem>Dangerous Liasons\u003c/em>, \u003cem>The Queen\u003c/em>), is an affectionate portrait of the elderly heiress, her aspirations and her illusions — both as singer and lover — as she ramps up to a Carnegie Hall debut.\u003c/p>\n\u003cp>Thanks to Frears, and a bravura performance by Streep, Jenkins’ stock is poised to rise again. A new set of fans will be laughing at the pseudo-soprano’s hilarious original 1940s recordings, which have never been out of print yet have just been reissued once more.\u003c/p>\n\u003cp>Jenkins was in her early 70s when she made the records as a vanity project at the Melotone Recording Studio in Manhattan. By this time, she was a visible presence in New York society, having joined dozens of women’s clubs, many of which she served as music director.\u003c/p>\n\u003cp>\u003cstrong>Musical Dreams\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DMu9PKWthLE\u003c/p>\n\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I wish we could go back and meet her,” Schuman said. “I just know that my teacher loved her as a person and admired her. She changed my teacher’s whole life, so I owe her, actually, my teaching career. Because of her, my life’s changed and many generations of singers. So, if that’s her impact, that’s an incredible impact.” \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=Killing+Me+Sharply+With+Her+Song%3A+The+Improbable+Story+Of+Florence+Foster+Jenkins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A Manhattan socialite, who sold out Carnegie Hall in 1944 despite having a very dodgy voice, inspired a new movie starring Meryl Streep — and aided generations of actual singers.",
"status": "publish",
"parent": 0,
"modified": 1726787498,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 34,
"wordCount": 1818
},
"headData": {
"title": "Killing Me Sharply with Her Song: The Improbable Story of Florence Foster Jenkins | KQED",
"description": "A Manhattan socialite, who sold out Carnegie Hall in 1944 despite having a very dodgy voice, inspired a new movie starring Meryl Streep — and aided generations of actual singers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Killing Me Sharply with Her Song: The Improbable Story of Florence Foster Jenkins",
"datePublished": "2016-08-10T15:00:23-07:00",
"dateModified": "2024-09-19T16:11:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Pictorial Parade",
"nprByline": "Tom Huizenga",
"nprImageAgency": "Getty Images",
"nprStoryId": "488724807",
"nprApiLink": "http://api.npr.org/query?id=488724807&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/deceptivecadence/2016/08/10/488724807/killing-me-sharply-with-her-song-the-improbable-story-of-florence-foster-jenkins?ft=nprml&f=488724807",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 10 Aug 2016 16:45:00 -0400",
"nprStoryDate": "Wed, 10 Aug 2016 14:55:00 -0400",
"nprLastModifiedDate": "Wed, 10 Aug 2016 16:45:12 -0400",
"path": "/arts/11920621/killing-me-sharply-with-her-song-the-improbable-story-of-florence-foster-jenkins",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new film starring Meryl Streep, which opens in the U.S. Friday, tells the improbable story of Florence Foster Jenkins, a real-life New York socialite who pronounced herself a coloratura soprano despite a distinct lack of talent. Who could’ve guessed that Jenkins, who favored elaborate costumes and strangled phrases with abandon, would resurface with such gusto decades after her death in 1944. She’s been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=sRW-zxTpLxQ\" target=\"_blank\" rel=\"noopener\">Broadway play\u003c/a> starring Judy Kaye, a new biography, a \u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">documentary\u003c/a> and now two movies released in the U.S. within the span of six months.\u003c/p>\n\u003cp>The film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HszfdNS0JSc\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>, directed by Stephen Frears (\u003cem>My Beautiful Laundrette\u003c/em>, \u003cem>Dangerous Liasons\u003c/em>, \u003cem>The Queen\u003c/em>), is an affectionate portrait of the elderly heiress, her aspirations and her illusions — both as singer and lover — as she ramps up to a Carnegie Hall debut.\u003c/p>\n\u003cp>Thanks to Frears, and a bravura performance by Streep, Jenkins’ stock is poised to rise again. A new set of fans will be laughing at the pseudo-soprano’s hilarious original 1940s recordings, which have never been out of print yet have just been reissued once more.\u003c/p>\n\u003cp>Jenkins was in her early 70s when she made the records as a vanity project at the Melotone Recording Studio in Manhattan. By this time, she was a visible presence in New York society, having joined dozens of women’s clubs, many of which she served as music director.\u003c/p>\n\u003cp>\u003cstrong>Musical Dreams\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\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/DMu9PKWthLE'\n title='//www.youtube.com/embed/DMu9PKWthLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\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 wish we could go back and meet her,” Schuman said. “I just know that my teacher loved her as a person and admired her. She changed my teacher’s whole life, so I owe her, actually, my teaching career. Because of her, my life’s changed and many generations of singers. So, if that’s her impact, that’s an incredible impact.” \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=Killing+Me+Sharply+With+Her+Song%3A+The+Improbable+Story+Of+Florence+Foster+Jenkins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11920621/killing-me-sharply-with-her-song-the-improbable-story-of-florence-foster-jenkins",
"authors": [
"byline_arts_11920621"
],
"categories": [
"arts_74",
"arts_69",
"arts_75"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11920622",
"label": "arts_137"
},
"arts_11920256": {
"type": "posts",
"id": "arts_11920256",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11920256",
"score": null,
"sort": [
1470856832000
]
},
"guestAuthors": [],
"slug": "amid-crackdown-chinas-last-liberal-magazine-fights-for-survival",
"title": "Amid Crackdown, China's Last Liberal Magazine Fights for Survival",
"publishDate": 1470856832,
"format": "standard",
"headTitle": "Amid Crackdown, China’s Last Liberal Magazine Fights for Survival | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Journalists are fighting to keep alive one of China's leading liberal publications, a modern history journal that's made bold calls for democratic reform. Their prospects don't look good.",
"status": "publish",
"parent": 0,
"modified": 1726787499,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 30,
"wordCount": 1093
},
"headData": {
"title": "Amid Crackdown, China's Last Liberal Magazine Fights for Survival | KQED",
"description": "Journalists are fighting to keep alive one of China's leading liberal publications, a modern history journal that's made bold calls for democratic reform. Their prospects don't look good.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Amid Crackdown, China's Last Liberal Magazine Fights for Survival",
"datePublished": "2016-08-10T12:20:32-07:00",
"dateModified": "2024-09-19T16:11:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Gerry Shih",
"nprByline": "Anthony Kuhn",
"nprImageAgency": "AP",
"nprStoryId": "489318226",
"nprApiLink": "http://api.npr.org/query?id=489318226&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/parallels/2016/08/10/489318226/amid-crackdown-chinas-last-liberal-magazine-fights-for-survival?ft=nprml&f=489318226",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 10 Aug 2016 11:13:00 -0400",
"nprStoryDate": "Wed, 10 Aug 2016 11:15:00 -0400",
"nprLastModifiedDate": "Wed, 10 Aug 2016 14:39:19 -0400",
"path": "/arts/11920256/amid-crackdown-chinas-last-liberal-magazine-fights-for-survival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\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>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\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 editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11920256/amid-crackdown-chinas-last-liberal-magazine-fights-for-survival",
"authors": [
"byline_arts_11920256"
],
"categories": [
"arts_73",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11920257",
"label": "arts_137"
},
"arts_11912508": {
"type": "posts",
"id": "arts_11912508",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11912508",
"score": null,
"sort": [
1470754815000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1470754815,
"format": "standard",
"title": "Why Taylor Swift is Asking Congress to Update Copyright Laws",
"headTitle": "Why Taylor Swift is Asking Congress to Update Copyright Laws | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/487291905/489218091\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Congress is in the midst of a review of the copyright laws to make sure they’re up to date. Some of the recording industry’s biggest stars, among them Taylor Swift, Katy Perry and Paul McCartney, recently \u003ca href=\"http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital\" target=\"_blank\" rel=\"noopener\">signed a letter\u003c/a> urging lawmakers to make reforms.\u003c/p>\n\u003cp>The artists say that aspects of the law, which were written in the late 1990s, make it too easy for tech companies to ignore rampant piracy on their sites and put too much responsibility on the artists themselves to find the illegal music files.\u003c/p>\n\u003cp>It may be hard to feel sorry for high-profile artists like Taylor Swift — but you might feel bad for Sam Rosenthal, who runs a small independent label, Projekt Records. He’s been making a living as a musician and producer of electronic music for 30 years. Over the last decade, he says he’s struggled to keep his business alive.\u003c/p>\n\u003cp>“It involves continuously finding more ways to save and downsizing. And trying to keep ahead of the decline basically,” Rosenthal says. “I had 11 people working for me in the ’90s and now I have two part-time people working for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \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=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1242,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 30
},
"modified": 1705033361,
"excerpt": "It's an ongoing standoff between musicians and Google's YouTube: Who should be responsible for removing unauthorized copies of songs posted online?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's an ongoing standoff between musicians and Google's YouTube: Who should be responsible for removing unauthorized copies of songs posted online?",
"title": "Why Taylor Swift is Asking Congress to Update Copyright Laws | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why Taylor Swift is Asking Congress to Update Copyright Laws",
"datePublished": "2016-08-09T08:00:15-07:00",
"dateModified": "2024-01-11T20:22:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "why-taylor-swift-is-asking-congress-to-update-copyright-laws",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=487291905&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 08 Aug 2016 16:33:00 -0400",
"nprLastModifiedDate": "Mon, 08 Aug 2016 17:36:06 -0400",
"nprHtmlLink": "http://www.npr.org/sections/alltechconsidered/2016/08/08/487291905/why-taylor-swift-is-asking-congress-to-update-copyright-laws?ft=nprml&f=487291905",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/08/20160808_atc_taylor_swift_and_paul_mccartney_want_congress_to_reform_copyright_laws.mp3?orgId=1&topicId=1006&d=273&p=2&story=487291905&t=progseg&e=489170406&seg=4&ft=nprml&f=487291905",
"nprImageAgency": "WireImage/Getty",
"nprAudioM3u": "http://api.npr.org/m3u/1489218091-d94c5d.m3u?orgId=1&topicId=1006&d=273&p=2&story=487291905&t=progseg&e=489170406&seg=4&ft=nprml&f=487291905",
"nprStoryId": "487291905",
"nprByline": "Laura Sydell",
"sticky": false,
"nprImageCredit": "Kevin Mazur",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 08 Aug 2016 17:31:00 -0400",
"path": "/arts/11912508/why-taylor-swift-is-asking-congress-to-update-copyright-laws",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/08/20160808_atc_taylor_swift_and_paul_mccartney_want_congress_to_reform_copyright_laws.mp3?orgId=1&topicId=1006&d=273&p=2&story=487291905&t=progseg&e=489170406&seg=4&ft=nprml&f=487291905",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/487291905/489218091\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Congress is in the midst of a review of the copyright laws to make sure they’re up to date. Some of the recording industry’s biggest stars, among them Taylor Swift, Katy Perry and Paul McCartney, recently \u003ca href=\"http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital\" target=\"_blank\" rel=\"noopener\">signed a letter\u003c/a> urging lawmakers to make reforms.\u003c/p>\n\u003cp>The artists say that aspects of the law, which were written in the late 1990s, make it too easy for tech companies to ignore rampant piracy on their sites and put too much responsibility on the artists themselves to find the illegal music files.\u003c/p>\n\u003cp>It may be hard to feel sorry for high-profile artists like Taylor Swift — but you might feel bad for Sam Rosenthal, who runs a small independent label, Projekt Records. He’s been making a living as a musician and producer of electronic music for 30 years. Over the last decade, he says he’s struggled to keep his business alive.\u003c/p>\n\u003cp>“It involves continuously finding more ways to save and downsizing. And trying to keep ahead of the decline basically,” Rosenthal says. “I had 11 people working for me in the ’90s and now I have two part-time people working for me.”\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>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\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>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \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=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11912508/why-taylor-swift-is-asking-congress-to-update-copyright-laws",
"authors": [
"byline_arts_11912508"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11912509",
"label": "arts_137"
},
"arts_11895908": {
"type": "posts",
"id": "arts_11895908",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11895908",
"score": null,
"sort": [
1470409217000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1470409217,
"format": "standard",
"title": "The Making Of A Propaganda Film In 'Under The Sun'",
"headTitle": "The Making Of A Propaganda Film In ‘Under The Sun’ | KQED",
"content": "\u003cp>She’s only eight years old, but Zin-Mi knows a lot about her homeland. It is, she says, “the land of the rising sun” and “the most beautiful country.” Of course, North Korea is the only place Zin-Mi has ever seen, and the only place she’s ever likely to see.\u003c/p>\n\u003cp>Shot during two visits over a year, \u003cem>Under the Sun\u003c/em> chronicles Zin-Mi’s preparations to become a member of the Children’s Union, a group in the tradition of the USSR’s Young Pioneers. The uniformed tykes wear red scarves, and present red flowers to dignitaries weighed down by medals that cover their jackets. The kids also listen to endless lessons, presented by both young schoolteachers and elderly war veterans, about how the Kim dynasty defeated Japanese imperialists and American “cowards.”\u003c/p>\n\u003cp>https://youtu.be/_QRbU6ACIRw\u003c/p>\n\u003cp>At first, Russian director Vitaly Mansky presents Zin-Mi and her equally earnest parents without comment. But then, during a family dinner, the filmmaker offers multiple takes of the scene. He shows the men who interrupt to coach the three players on their performances and tell them just what to say about the virtues of kimchi: It prevents cancer and enhances longevity, the handlers insist, and the girl and her parents dutifully repeat those claims.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> is a documentary about the making of a “documentary” — a government-sanctioned propaganda film in which ordinary North Koreans play fictional roles. Mansky doesn’t explain what he originally agreed to do or exactly how he wound up making something quite different. But he does include an occasional on-screen note about some of the North Korean subterfuge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The parents, for example, are both shown to labor in exemplary factories where, in fact, they don’t work. In reality, Dad is a “print journalist,” which may mean his job is at the same propaganda agency that chaperoned the film.\u003c/p>\n\u003cfigure id=\"attachment_11895914\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg\" alt=\"Still from 'Under the Sun.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11895914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Under the Sun.’ \u003ccite>(Courtesy Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without explanation, North Korean authorities cancelled the project before shooting was complete. So Mansky felt free to use the existing footage for a film about the country’s unbeautifulness. He divulges not only the backstage machinations, but also moments in which Zin-Mi — the exemplary Children’s Union member — is confused, doubtful, or frustrated. Prompted by an off-screen overseer to look more cheerful by thinking of “something good,” the girl falters. “I don’t know what,” she says. The simplest emotional cues are problematic when everything is scripted.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> presents a society in which nothing is natural, and where depictions of Kim Jong-Un and his predecessors are as ubiquitous as images of Jesus in a medieval cathedral.\u003c/p>\n\u003cp>But the movie would have been more interesting if Mansky had included more of \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-under-the-sun-north-korea-doc-20160705-snap-story.html\" target=\"_blank\" rel=\"noopener\">the back story\u003c/a>. The filmmakers were required to submit their memory cards every day, and North Korean censors deleted any scene they didn’t want used. What they didn’t know was that the crew was backing up all the footage on a second set of cards so they could retain the moments the authorities thought were erased.\u003c/p>\n\u003cp>Also missing is the director’s intriguing motivation. At a screening of the film at AFI Docs in Washington, Mansky said he initially thought the project would be “a time machine” to the Soviet Union’s Stalinist era, and thus a means to better understand his country’s history. But he came to believe that North Korea is “much more hard and cruel” than the USSR ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> doesn’t document purges, prisons, and show trials. It displays only the wall that’s been erected to block the view of any such brutalities. But that’s enough.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 660,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705033395,
"excerpt": "Director Vitaly Mansky started out working on a government-sanctioned film about children in North Korea. But when approval was withdrawn, he made a different documentary entirely.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Vitaly Mansky started out working on a government-sanctioned film about children in North Korea. But when approval was withdrawn, he made a different documentary entirely.",
"title": "The Making Of A Propaganda Film In 'Under The Sun' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Making Of A Propaganda Film In 'Under The Sun'",
"datePublished": "2016-08-05T08:00:17-07:00",
"dateModified": "2024-01-11T20:23:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-making-of-a-propaganda-film-in-under-the-sun",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=484945860&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Fri, 08 Jul 2016 19:18:18 -0400",
"nprLastModifiedDate": "Fri, 08 Jul 2016 19:18:18 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/07/08/484945860/the-making-of-a-propaganda-film-in-under-the-sun?ft=nprml&f=484945860",
"nprImageAgency": "Icarus Films",
"nprStoryId": "484945860",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 08 Jul 2016 19:18:00 -0400",
"path": "/arts/11895908/the-making-of-a-propaganda-film-in-under-the-sun",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She’s only eight years old, but Zin-Mi knows a lot about her homeland. It is, she says, “the land of the rising sun” and “the most beautiful country.” Of course, North Korea is the only place Zin-Mi has ever seen, and the only place she’s ever likely to see.\u003c/p>\n\u003cp>Shot during two visits over a year, \u003cem>Under the Sun\u003c/em> chronicles Zin-Mi’s preparations to become a member of the Children’s Union, a group in the tradition of the USSR’s Young Pioneers. The uniformed tykes wear red scarves, and present red flowers to dignitaries weighed down by medals that cover their jackets. The kids also listen to endless lessons, presented by both young schoolteachers and elderly war veterans, about how the Kim dynasty defeated Japanese imperialists and American “cowards.”\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/_QRbU6ACIRw'\n title='//www.youtube.com/embed/_QRbU6ACIRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, Russian director Vitaly Mansky presents Zin-Mi and her equally earnest parents without comment. But then, during a family dinner, the filmmaker offers multiple takes of the scene. He shows the men who interrupt to coach the three players on their performances and tell them just what to say about the virtues of kimchi: It prevents cancer and enhances longevity, the handlers insist, and the girl and her parents dutifully repeat those claims.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> is a documentary about the making of a “documentary” — a government-sanctioned propaganda film in which ordinary North Koreans play fictional roles. Mansky doesn’t explain what he originally agreed to do or exactly how he wound up making something quite different. But he does include an occasional on-screen note about some of the North Korean subterfuge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The parents, for example, are both shown to labor in exemplary factories where, in fact, they don’t work. In reality, Dad is a “print journalist,” which may mean his job is at the same propaganda agency that chaperoned the film.\u003c/p>\n\u003cfigure id=\"attachment_11895914\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg\" alt=\"Still from 'Under the Sun.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11895914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Under the Sun.’ \u003ccite>(Courtesy Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without explanation, North Korean authorities cancelled the project before shooting was complete. So Mansky felt free to use the existing footage for a film about the country’s unbeautifulness. He divulges not only the backstage machinations, but also moments in which Zin-Mi — the exemplary Children’s Union member — is confused, doubtful, or frustrated. Prompted by an off-screen overseer to look more cheerful by thinking of “something good,” the girl falters. “I don’t know what,” she says. The simplest emotional cues are problematic when everything is scripted.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> presents a society in which nothing is natural, and where depictions of Kim Jong-Un and his predecessors are as ubiquitous as images of Jesus in a medieval cathedral.\u003c/p>\n\u003cp>But the movie would have been more interesting if Mansky had included more of \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-under-the-sun-north-korea-doc-20160705-snap-story.html\" target=\"_blank\" rel=\"noopener\">the back story\u003c/a>. The filmmakers were required to submit their memory cards every day, and North Korean censors deleted any scene they didn’t want used. What they didn’t know was that the crew was backing up all the footage on a second set of cards so they could retain the moments the authorities thought were erased.\u003c/p>\n\u003cp>Also missing is the director’s intriguing motivation. At a screening of the film at AFI Docs in Washington, Mansky said he initially thought the project would be “a time machine” to the Soviet Union’s Stalinist era, and thus a means to better understand his country’s history. But he came to believe that North Korea is “much more hard and cruel” than the USSR ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> doesn’t document purges, prisons, and show trials. It displays only the wall that’s been erected to block the view of any such brutalities. But that’s enough.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11895908/the-making-of-a-propaganda-film-in-under-the-sun",
"authors": [
"byline_arts_11895908"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11895913",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2100,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2513,
"relation": "eq"
},
"items": [
"arts_11975409",
"arts_11971684",
"arts_11967358",
"arts_11952825",
"arts_11948186",
"arts_11944221",
"arts_11932158",
"arts_11920449",
"arts_11920621",
"arts_11920256",
"arts_11912508",
"arts_11895908"
],
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_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_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_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
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
