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_11788383": {
"type": "attachments",
"id": "arts_11788383",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11788383",
"found": true
},
"parent": 11788380,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Wilder-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467960284,
"modified": 1467960326,
"caption": "Ricky (Julian Dennison) and Hec (Sam Neill) in 'Hunt For The Wilderpeople.'",
"description": null,
"title": "v1-0046_150521hftwp17_93474",
"credit": "Photo: Kane Skennar/The Orchard",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11785935": {
"type": "attachments",
"id": "arts_11785935",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11785935",
"found": true
},
"parent": 11785931,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/Renee-Zellweger-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467915096,
"modified": 1467915182,
"caption": "Renee Zellweger arrives at ELLE's 21st Annual Women In Hollywood back in Oct. of 2014 in Beverly Hills, California. ",
"description": "Renee Zellweger arrives at ELLE's 21st Annual Women In Hollywood back in Oct. of 2014 in Beverly Hills, California. ",
"title": "ELLE's 21st Annual Women In Hollywood - Arrivals",
"credit": "Photo: Frazer Harrison/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11781549": {
"type": "attachments",
"id": "arts_11781549",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11781549",
"found": true
},
"parent": 11781548,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-987x576.jpg",
"width": 987,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197.jpg",
"width": 986,
"height": 555
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-776x1180.jpg",
"width": 776,
"mimeType": "image/jpeg",
"height": 1180
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/07/ironman2_custom-30d3f860b1ca60c326974516d1e81edf2a9524f6-e1467827652197-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467827411,
"modified": 1467827702,
"caption": "The cover of 'Invincible Iron Man,' with art by Jeff Dekal",
"description": "The cover of 'Invincible Iron Man,' with art by Jeff Dekal",
"title": "The cover of Invincible Iron Man, with art by Jeff Dekal.",
"credit": "Photo: Marvel Comics",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11751055": {
"type": "attachments",
"id": "arts_11751055",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11751055",
"found": true
},
"parent": 11751052,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/DogCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467174989,
"modified": 1467175022,
"caption": "Dave (Danny DeVito) in 'Wiener-Dog.'",
"description": null,
"title": "wd_02630",
"credit": "Photo: Linda Callerus/Amazon Studios & IFC Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11758325": {
"type": "attachments",
"id": "arts_11758325",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11758325",
"found": true
},
"parent": 11758324,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-828x576.jpg",
"width": 828,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852.jpg",
"width": 825,
"height": 465
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-487933397-b5d725984cbbe998ea493d9e66ac61316975cb59-e1467317500852-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467317037,
"modified": 1467317167,
"caption": "Fans hold up their phones at a Childish Gambino performance in 2014.Fans hold up their phones at a Childish Gambino performance in 2014.",
"description": "Fans hold up their phones at a Childish Gambino performance in 2014.",
"title": "Fans hold up their phones at a Childish Gambino performance in 2014.",
"credit": "Photo: Ethan Miller/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11750373": {
"type": "attachments",
"id": "arts_11750373",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11750373",
"found": true
},
"parent": 11750372,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/dsc_0013_custom-e07596c2f810940ab77c169e670f6bcfa0e4489a-e1467179473832-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1467161269,
"modified": 1467161671,
"caption": "The original USS Enterprise model, from the classic Star Trek TV series, has been restored by the Smithsonian Air and Space Museum and will move to a permanent display in the museum's Boeing Milestones of Flight Hall on June 28.",
"description": "The original USS Enterprise model, from the classic \u003cem>Star Trek \u003c/em>TV series\u003cem>, \u003c/em>has been restored by the Smithsonian Air and Space Museum and will move to a permanent display in the museum's Boeing Milestones of Flight Hall on June 28.",
"title": "The original USS Enterprise model, from the classic Star Trek TV series, has been restored by the Smithsonian Air and Space Museum and will move to a permanent display in the museum's Boeing Milestones of Flight Hall on June 28.",
"credit": "Photo: Ashley Westerman for NPR",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11735951": {
"type": "attachments",
"id": "arts_11735951",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11735951",
"found": true
},
"parent": 11735950,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993.jpg",
"width": 5340,
"height": 3003
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/ap16166039274599_custom-5410d9c62fb7d7a162ad2fd2263d0a570e439599-e1466881968993-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466881688,
"modified": 1466882119,
"caption": "People gather to look at a makeshift memorial for victims of the Orlando nightclub shootings in front of the historic Stonewall Inn, a gay bar in the West Village, on June 13, in New York.",
"description": "People gather to look at a makeshift memorial for victims of the Orlando nightclub shootings in front of the historic Stonewall Inn, a gay bar in the West Village, on June 13, in New York.",
"title": "People gather to look at a makeshift memorial for victims of the Orlando nightclub shootings in front of the historic Stonewall Inn, a gay bar in the West Village, on June 13, in New York.",
"credit": "Photo: Kathy Willens",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11735945": {
"type": "attachments",
"id": "arts_11735945",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11735945",
"found": true
},
"parent": 11735944,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748.jpg",
"width": 2692,
"height": 1514
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-143550114-1b7dce167bc954da7f38975ed60656d266d4dfe4-e1466881192748-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466881093,
"modified": 1466881173,
"caption": "Ralph Stanley at the Stagecoach Country Music Festivalin 2012",
"description": "Ralph Stanley at the Stagecoach Country Music Festivalin 2012",
"title": "Ralph Stanley at the Stagecoach Country Music Festivalin 2012.",
"credit": "Photo: Karl Walter/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11735940": {
"type": "attachments",
"id": "arts_11735940",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11735940",
"found": true
},
"parent": 11735939,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-519237878_wide-deed3964f0780eeafddebcc14dd43a3b8c102169-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466879804,
"modified": 1466880181,
"caption": "Bernie Worrell performs at the Black Rock Coalition Presents: All The Woo In The World â An All-Star Celebration benefit concert on April 4 in New York City. The concert was raising money for Worrell's medical costs.",
"description": "Bernie Worrell performs at the Black Rock Coalition Presents: All The Woo In The World â An All-Star Celebration benefit concert on April 4 in New York City. The concert was raising money for Worrell's medical costs.",
"title": "Bernie Worrell performs at the Black Rock Coalition Presents: All The Woo In The World â An All-Star Celebration benefit concert on April 4 in New York City. The concert was raising money for Worrell's medical costs.",
"credit": "Photo: Al Pereira/WireImage",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11722825": {
"type": "attachments",
"id": "arts_11722825",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11722825",
"found": true
},
"parent": 11722824,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd.jpg",
"width": 3775,
"height": 2123
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/voltron_wide-8337f1b591dc0d77cf40f44a203fac80c1effbbd-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466625120,
"modified": 1466625120,
"caption": null,
"description": "The cast of Netflix's \u003cem>Voltron: Legendary Defender\u003c/em> includes characters named \"Hunk\" and \"Pidge.\" Yes, I know. It's really good though",
"title": "The cast of Netflix's Voltron: Legendary Defender includes characters named \"Hunk\" and \"Pidge.\" Yes, I know. It's really good though.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11700694": {
"type": "attachments",
"id": "arts_11700694",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11700694",
"found": true
},
"parent": 11700683,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-852x576.jpg",
"width": 852,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb.jpg",
"width": 852,
"height": 639
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gockley-db22348017e9dece1d688228227586c77bc280eb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466189614,
"modified": 1466189614,
"caption": null,
"description": "James Maddalena (right) as Richard Nixon and John Duykers as Mao Tse-tung in the 1987 Houston Grand Opera world premiere of \u003cem>Nixon in China\u003c/em> by composer John Adams and librettist Alice Goodman",
"title": "James Maddalena (right) as Richard Nixon and John Duykers as Mao Tse-tung in the 1987 Houston Grand Opera world premiere of Nixon in China by composer John Adams and librettist Alice Goodman.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11696573": {
"type": "attachments",
"id": "arts_11696573",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11696573",
"found": true
},
"parent": 11696268,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/thefitsCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1466108827,
"modified": 1466108870,
"caption": "Royalty Hightower in 'The Fits.'",
"description": null,
"title": "thefits_still_01",
"credit": "Photo: Oscilloscope Laboratories",
"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_11788380": {
"type": "authors",
"id": "byline_arts_11788380",
"meta": {
"override": true
},
"slug": "byline_arts_11788380",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_11785931": {
"type": "authors",
"id": "byline_arts_11785931",
"meta": {
"override": true
},
"slug": "byline_arts_11785931",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_11781548": {
"type": "authors",
"id": "byline_arts_11781548",
"meta": {
"override": true
},
"slug": "byline_arts_11781548",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_11751052": {
"type": "authors",
"id": "byline_arts_11751052",
"meta": {
"override": true
},
"slug": "byline_arts_11751052",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_11758324": {
"type": "authors",
"id": "byline_arts_11758324",
"meta": {
"override": true
},
"slug": "byline_arts_11758324",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_11750372": {
"type": "authors",
"id": "byline_arts_11750372",
"meta": {
"override": true
},
"slug": "byline_arts_11750372",
"name": "NPR Staff",
"isLoading": false
},
"byline_arts_11735950": {
"type": "authors",
"id": "byline_arts_11735950",
"meta": {
"override": true
},
"slug": "byline_arts_11735950",
"name": "Scott Horsley",
"isLoading": false
},
"byline_arts_11735944": {
"type": "authors",
"id": "byline_arts_11735944",
"meta": {
"override": true
},
"slug": "byline_arts_11735944",
"name": "Paul Brown",
"isLoading": false
},
"byline_arts_11735939": {
"type": "authors",
"id": "byline_arts_11735939",
"meta": {
"override": true
},
"slug": "byline_arts_11735939",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_11722824": {
"type": "authors",
"id": "byline_arts_11722824",
"meta": {
"override": true
},
"slug": "byline_arts_11722824",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_11700683": {
"type": "authors",
"id": "byline_arts_11700683",
"meta": {
"override": true
},
"slug": "byline_arts_11700683",
"name": "Tom Huizenga",
"isLoading": false
},
"byline_arts_11696268": {
"type": "authors",
"id": "byline_arts_11696268",
"meta": {
"override": true
},
"slug": "byline_arts_11696268",
"name": "Andrew Lapin",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262192
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 177
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 177
}
},
{
"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_11788380": {
"type": "posts",
"id": "arts_11788380",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11788380",
"score": null,
"sort": [
1467990056000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1467990056,
"format": "standard",
"title": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In 'Hunt For The Wilderpeople'",
"headTitle": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In ‘Hunt For The Wilderpeople’ | KQED",
"content": "\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\u003c/p>\n\u003cp>https://youtu.be/tICv8QH3oM0\u003c/p>\n\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 731,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033671,
"excerpt": "An unlikely pair brave New Zealand's bush country while relentlessly pursued by a social worker.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An unlikely pair brave New Zealand's bush country while relentlessly pursued by a social worker.",
"title": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In 'Hunt For The Wilderpeople' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In 'Hunt For The Wilderpeople'",
"datePublished": "2016-07-08T08:00:56-07:00",
"dateModified": "2024-01-11T20:27:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeople",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=482801151&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 23 Jun 2016 17:00:00 -0400",
"nprLastModifiedDate": "Fri, 24 Jun 2016 13:36:29 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/06/23/482801151/a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeopl?ft=nprml&f=482801151",
"nprImageAgency": "The Orchard",
"nprImageCredit": "Kane Skennar",
"nprStoryId": "482801151",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Jun 2016 13:36:00 -0400",
"path": "/arts/11788380/a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeople",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\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/tICv8QH3oM0'\n title='//www.youtube.com/embed/tICv8QH3oM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\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>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11788380/a-crusty-kiwi-and-a-troubled-teen-head-into-the-wild-in-hunt-for-the-wilderpeople",
"authors": [
"byline_arts_11788380"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11788383",
"label": "arts_137"
},
"arts_11785931": {
"type": "posts",
"id": "arts_11785931",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11785931",
"score": null,
"sort": [
1467915592000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1467915592,
"format": "standard",
"title": "About Face: On Beauty, Characters and Threading the Needle",
"headTitle": "About Face: On Beauty, Characters and Threading the Needle | KQED",
"content": "\u003cp>There is a myth that the most worshipped woman in popular culture is the one perceived as most perfectly beautiful, but that’s not so. What’s worshipped the most is the one who threads the needle most precisely such that she is almost impossibly beautiful, but something about her brings her toward you and into focus, close enough that you feel like you could touch her.\u003c/p>\n\u003cp>Consider the unintentionally funny opening of Rich Cohen’s recent \u003cem>Vanity Fair \u003c/em>\u003ca href=\"http://www.vanityfair.com/hollywood/2016/07/margot-robbie-cover-story\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> of Margot Robbie, an interesting actress who is, among other things, about as conventionally beautiful as women get (and more power to her).\u003c/p>\n\u003cblockquote>\n\u003cp>“America is so far gone, we have to go to Australia to find a girl next door. In case you’ve missed it, her name is Margot Robbie. She is 26 and beautiful, not in that otherworldly, catwalk way but in a minor knock-around key, a blue mood, a slow dance. She is blonde but dark at the roots. She is tall but only with the help of certain shoes. She can be sexy and composed even while naked but only in character. As I said, she is from Australia. To understand her, you should think about what that means.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Margot Robbie, according to this paragraph, is beautiful in a kind of regular, ordinary, normal, accessible way, even though the profile is entirely illustrated with wet-babe swimsuit shots. Apparently she has dark roots (which, by the way, are generally the result of waiting to color your hair, and not of any particular mystique or genetic ta-da) and is tall if she happens to wear very high heels (which, by the way, is true of many women because of the basic interlocking logic of shoes and height). And she is from Australia, and we should think about what that means. (Spoiler alert: The thesis is that “Australia is America 50 years ago,” so I’m sure they’re looking forward to getting the Internet someday.)\u003c/p>\n\u003cp>What follows is something like you’d expect to find in late-night Margot Robbie fan fiction, in which you meet her and really, really get to know the woman behind the blue eyes and blond hair — you look at her in a new way. She touches your heart a tad. “We sat for a moment in silence,” Cohen says. “She was thinking of something; I was thinking of something else.” (Say countless readers in unison: “Yes, I suspect you were not thinking the same thing in this particular moment.”) Somehow, this piece ends without a gentle, rueful kiss on the forehead, but that’s sort of where it seems to be going for a while there.\u003c/p>\n\u003cp>The effort to position Margot Robbie as less “otherworldly” but more of a “knock-around” kind of girl because she has dark roots and isn’t all that tall is a perfect example of worshipping a woman by arguing that she threads the needle in just the right way. She delights us, but you can see a flicker of ordinariness that binds her to us when we feel ordinary ourselves. The ones who are beautiful with no ordinariness at all will be classified as cold. Or stuck-up. Or worse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It made an interesting companion piece with \u003cem>Variety \u003c/em>film critic Owen Gleiberman’s recent \u003ca href=\"http://variety.com/2016/film/columns/renee-zellweger-bridget-joness-baby-1201806603/\" target=\"_blank\" rel=\"noopener\">column\u003c/a> lamenting the way Renee Zellweger looks in the trailer for \u003cem>Bridget Jones’s Baby\u003c/em>. Gleiberman guesses (without, he acknowledges, any evidence other than his own sense of what she \u003cem>should \u003c/em>look like were she aging naturally) that Zellweger has had “work done.” That, of course, is in turn a way of implying “plastic surgery” without saying so — there’s work that isn’t surgery, but that probably isn’t what we’re talking about. Gleiberman says that Zellweger is unrecognizable as herself and goes on to generalize that when \u003cem>that\u003c/em> happens, it’s not the result of a celebrity trying to look her best or trying to stay the same, but of something far more nefarious: “It’s the result of a decision, an ideology, a rejection of the self.” That is a lot to conclude based on a trailer, but let’s follow it for a bit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5aaWY7rQS3I\u003c/p>\n\u003cp>What seems to have bummed Gleiberman out in the case of Zellweger is, he says, rooted in his appreciation of the way she looked in \u003cem>Jerry Maguire\u003c/em> — to him, she wasn’t pretty like a movie star, but was, as he puts it, “beautiful in the way an ordinary person is.” In other words: a needle-threader. He ascribes essentially all of her appeal in the film\u003cem> \u003c/em>to this fact, saying nothing about her acting in it at all, only that her ordinary looks (that’s not really true to begin with, I don’t think, but let’s posit that it’s true) were what made the story special, what gave it meaning. That Tom Cruise could fall for a woman so regular-looking, so not-Julia-Roberts. “This is what completes you,” he says in reference to the film’s most famous line, “someone who looks just like this.”\u003c/p>\n\u003cp>The piece ends in hope that in the third Bridget Jones movie, Bridget will look like “a gloriously ordinary person” rather than “someone who looks like she no longer wants to look like who she is.” That sentence subtly shifts the lamentable thing from \u003cem>how Renee Zellweger looks\u003c/em>, which might be deemed superficial, to \u003cem>how Renee Zellweger looks like she feels about how she looks\u003c/em>, which is meant — sincerely, I think — as compassionate\u003cem>. \u003c/em>It’s also a surprising thought, given that not wanting to look like who she was essentially defined Bridget Jones, whose diary is all about weight loss and getting a boyfriend.\u003c/p>\n\u003cp>In any event, if I follow the logic, it’s that it’s sad to see an ordinary-looking actress succumb to pressure to conform, in this case not because of the way Zellweger actually looks, but because the \u003cem>motives \u003c/em>Gleiberman ascribes to Zellweger the actress (rejection of self) are inconsistent with Bridget the character. He seems to find Bridget more confident and self-assured than I ever have, but again, let’s go with it.\u003c/p>\n\u003cp>Here’s the thing: Actors change how they look all the time. They go blond. They go brunette. They shave their heads. They grow weird mustaches, they grow long beards and shave them off, they gain weight and lose weight, they pierce things and get terrible haircuts. Men go from wiry to jacked and back. \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/04/21/151107477/what-zac-efrons-beard-means-for-men-and-women-in-hollywood\">Zac Efron\u003c/a> massively changed his image from a slender, nonthreatening teen wiggle-dancer to a scruffy brooder who could play a Marine. Joaquin Phoenix is \u003cem>often \u003c/em>unrecognizable compared to when last you saw him, depending on when last you saw him. Emma Stone already has an entire career’s worth of looks in her past.\u003c/p>\n\u003cp>It’s a lot to assume a substantial change in appearance, because it involves the face, can only be the result of “the rejection of the self.” It’s also a lot to assume that however different you think an actress looks, that’s how different she means to look — that if you cannot recognize her, she has chosen to be unrecognizable. (For the record, if it matters, I don’t happen to think Zellweger looks much different at all in the trailer from what I would expect an older Bridget to look like. I did think she looked different a couple of years ago, but people have all kinds of experiences, from beauty treatments to medication, that temporarily change their look.) It would be one thing to say, “Zellweger’s current look doesn’t fit Bridget.” It’s quite another to say, “I conclude that she’s doing this because she’s rejecting herself, and rejecting herself doesn’t fit Bridget.”\u003c/p>\n\u003cp>But ultimately, to place this much of Zellweger’s appeal in her physical face anyway, particularly through this pretty-but-in-a-not-\u003cem>that\u003c/em>-pretty-way lens, is assigning to ourselves a different relationship to her physical self than we probably ought to have. Actresses can change their faces if they want to, exactly as they can tattoo their bodies. They owe us nothing. It’s misdirection, I think, to analyze Zellweger’s self-worth as if she’s old insecure Bridget, crying on the couch again. If this is wrong for her because we are concerned for actresses’ well-being, then it’s equally wrong for an actress who’s playing an action hero or a glamorous goddess. But if it’s wrong because she owes us her 2001 face so that we can have pinchable-cheeked Bridget Jones the way we remember her, I don’t think that’s how faces work. Yours is yours; you may do with it as you like, and she may also. You then go to the movie or do not, but she doesn’t owe anyone any specific appearance at all.\u003c/p>\n\u003cp>Moreover, I’m not sure it’s more insidious (his word) to change your appearance substantially than it is to, as Gleiberman puts it, “nip and tuck” to avoid the appearance of aging and stay precisely as you are? Aging \u003cem>invites \u003c/em>the rejection of the self in the sense that it’s that same self, after all, that determinedly changes its appearance unless you intervene. Accepting that aging is natural requires accepting that a person whose appearance does \u003cem>not\u003c/em> change because of constant maintenance is not automatically more or less engaged in self-acceptance than someone who shows up with an entirely different nose. Choosing to push back against the naturally emerging visual manifestation of yourself — grayer, perhaps, or with more wrinkles — is certainly no \u003cem>less\u003c/em> emotionally fraught for many people than choosing to push back against the current version of yourself by coloring your hair or getting a tattoo or plumping your lips. People change how they present; it’s deeply personal.\u003c/p>\n\u003cp>A lot of people who lament cosmetic procedures in Hollywood say that they are — and in fact they consciously are — trying to take up for actresses who feel forced into it. And to them I would say this: If that’s the issue, even assuming you’re right, you’ll do more good by directing the anger at the problem, not at what your own analysis suggests the people affected by it do to survive.\u003c/p>\n\u003cp>Perhaps it’s vanity. Perhaps it’s pressure. Perhaps all that nipping and tucking that we don’t notice and dismiss as normal upkeep has blinded us to what it really looks like when actors age. How sure are we that we know what aging looks like in all cases? Have you ever been to a high school reunion?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No one wants anyone to feel \u003cem>forced\u003c/em> into a rejection of the self. Still, the narrower we make the path that a pretty/ordinary or pretty ordinary woman has to walk — engaged in constant but undetectable upkeep, naturally gorgeous but possessed of a mole or a crooked smile or something else that tells us she might have been next to us in the yearbook — the more, not less, brutal this entire business becomes. \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=About+Face%3A+On+Beauty%2C+Characters+And+Threading+The+Needle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1995,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705033684,
"excerpt": "The looks and faces of actresses provide endless fodder for debate and fascination. But some care is called for in where we take these arguments.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The looks and faces of actresses provide endless fodder for debate and fascination. But some care is called for in where we take these arguments.",
"title": "About Face: On Beauty, Characters and Threading the Needle | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "About Face: On Beauty, Characters and Threading the Needle",
"datePublished": "2016-07-07T11:19:52-07:00",
"dateModified": "2024-01-11T20:28:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "about-face-on-beauty-characters-and-threading-the-needle",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=485076030&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Thu, 07 Jul 2016 09:43:00 -0400",
"nprLastModifiedDate": "Thu, 07 Jul 2016 11:10:51 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/monkeysee/2016/07/07/485076030/about-face-on-beauty-characters-and-threading-the-needle?ft=nprml&f=485076030",
"nprStoryId": "485076030",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 07 Jul 2016 11:10:00 -0400",
"path": "/arts/11785931/about-face-on-beauty-characters-and-threading-the-needle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a myth that the most worshipped woman in popular culture is the one perceived as most perfectly beautiful, but that’s not so. What’s worshipped the most is the one who threads the needle most precisely such that she is almost impossibly beautiful, but something about her brings her toward you and into focus, close enough that you feel like you could touch her.\u003c/p>\n\u003cp>Consider the unintentionally funny opening of Rich Cohen’s recent \u003cem>Vanity Fair \u003c/em>\u003ca href=\"http://www.vanityfair.com/hollywood/2016/07/margot-robbie-cover-story\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> of Margot Robbie, an interesting actress who is, among other things, about as conventionally beautiful as women get (and more power to her).\u003c/p>\n\u003cblockquote>\n\u003cp>“America is so far gone, we have to go to Australia to find a girl next door. In case you’ve missed it, her name is Margot Robbie. She is 26 and beautiful, not in that otherworldly, catwalk way but in a minor knock-around key, a blue mood, a slow dance. She is blonde but dark at the roots. She is tall but only with the help of certain shoes. She can be sexy and composed even while naked but only in character. As I said, she is from Australia. To understand her, you should think about what that means.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Margot Robbie, according to this paragraph, is beautiful in a kind of regular, ordinary, normal, accessible way, even though the profile is entirely illustrated with wet-babe swimsuit shots. Apparently she has dark roots (which, by the way, are generally the result of waiting to color your hair, and not of any particular mystique or genetic ta-da) and is tall if she happens to wear very high heels (which, by the way, is true of many women because of the basic interlocking logic of shoes and height). And she is from Australia, and we should think about what that means. (Spoiler alert: The thesis is that “Australia is America 50 years ago,” so I’m sure they’re looking forward to getting the Internet someday.)\u003c/p>\n\u003cp>What follows is something like you’d expect to find in late-night Margot Robbie fan fiction, in which you meet her and really, really get to know the woman behind the blue eyes and blond hair — you look at her in a new way. She touches your heart a tad. “We sat for a moment in silence,” Cohen says. “She was thinking of something; I was thinking of something else.” (Say countless readers in unison: “Yes, I suspect you were not thinking the same thing in this particular moment.”) Somehow, this piece ends without a gentle, rueful kiss on the forehead, but that’s sort of where it seems to be going for a while there.\u003c/p>\n\u003cp>The effort to position Margot Robbie as less “otherworldly” but more of a “knock-around” kind of girl because she has dark roots and isn’t all that tall is a perfect example of worshipping a woman by arguing that she threads the needle in just the right way. She delights us, but you can see a flicker of ordinariness that binds her to us when we feel ordinary ourselves. The ones who are beautiful with no ordinariness at all will be classified as cold. Or stuck-up. Or worse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It made an interesting companion piece with \u003cem>Variety \u003c/em>film critic Owen Gleiberman’s recent \u003ca href=\"http://variety.com/2016/film/columns/renee-zellweger-bridget-joness-baby-1201806603/\" target=\"_blank\" rel=\"noopener\">column\u003c/a> lamenting the way Renee Zellweger looks in the trailer for \u003cem>Bridget Jones’s Baby\u003c/em>. Gleiberman guesses (without, he acknowledges, any evidence other than his own sense of what she \u003cem>should \u003c/em>look like were she aging naturally) that Zellweger has had “work done.” That, of course, is in turn a way of implying “plastic surgery” without saying so — there’s work that isn’t surgery, but that probably isn’t what we’re talking about. Gleiberman says that Zellweger is unrecognizable as herself and goes on to generalize that when \u003cem>that\u003c/em> happens, it’s not the result of a celebrity trying to look her best or trying to stay the same, but of something far more nefarious: “It’s the result of a decision, an ideology, a rejection of the self.” That is a lot to conclude based on a trailer, but let’s follow it for a bit.\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/5aaWY7rQS3I'\n title='//www.youtube.com/embed/5aaWY7rQS3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What seems to have bummed Gleiberman out in the case of Zellweger is, he says, rooted in his appreciation of the way she looked in \u003cem>Jerry Maguire\u003c/em> — to him, she wasn’t pretty like a movie star, but was, as he puts it, “beautiful in the way an ordinary person is.” In other words: a needle-threader. He ascribes essentially all of her appeal in the film\u003cem> \u003c/em>to this fact, saying nothing about her acting in it at all, only that her ordinary looks (that’s not really true to begin with, I don’t think, but let’s posit that it’s true) were what made the story special, what gave it meaning. That Tom Cruise could fall for a woman so regular-looking, so not-Julia-Roberts. “This is what completes you,” he says in reference to the film’s most famous line, “someone who looks just like this.”\u003c/p>\n\u003cp>The piece ends in hope that in the third Bridget Jones movie, Bridget will look like “a gloriously ordinary person” rather than “someone who looks like she no longer wants to look like who she is.” That sentence subtly shifts the lamentable thing from \u003cem>how Renee Zellweger looks\u003c/em>, which might be deemed superficial, to \u003cem>how Renee Zellweger looks like she feels about how she looks\u003c/em>, which is meant — sincerely, I think — as compassionate\u003cem>. \u003c/em>It’s also a surprising thought, given that not wanting to look like who she was essentially defined Bridget Jones, whose diary is all about weight loss and getting a boyfriend.\u003c/p>\n\u003cp>In any event, if I follow the logic, it’s that it’s sad to see an ordinary-looking actress succumb to pressure to conform, in this case not because of the way Zellweger actually looks, but because the \u003cem>motives \u003c/em>Gleiberman ascribes to Zellweger the actress (rejection of self) are inconsistent with Bridget the character. He seems to find Bridget more confident and self-assured than I ever have, but again, let’s go with it.\u003c/p>\n\u003cp>Here’s the thing: Actors change how they look all the time. They go blond. They go brunette. They shave their heads. They grow weird mustaches, they grow long beards and shave them off, they gain weight and lose weight, they pierce things and get terrible haircuts. Men go from wiry to jacked and back. \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/04/21/151107477/what-zac-efrons-beard-means-for-men-and-women-in-hollywood\">Zac Efron\u003c/a> massively changed his image from a slender, nonthreatening teen wiggle-dancer to a scruffy brooder who could play a Marine. Joaquin Phoenix is \u003cem>often \u003c/em>unrecognizable compared to when last you saw him, depending on when last you saw him. Emma Stone already has an entire career’s worth of looks in her past.\u003c/p>\n\u003cp>It’s a lot to assume a substantial change in appearance, because it involves the face, can only be the result of “the rejection of the self.” It’s also a lot to assume that however different you think an actress looks, that’s how different she means to look — that if you cannot recognize her, she has chosen to be unrecognizable. (For the record, if it matters, I don’t happen to think Zellweger looks much different at all in the trailer from what I would expect an older Bridget to look like. I did think she looked different a couple of years ago, but people have all kinds of experiences, from beauty treatments to medication, that temporarily change their look.) It would be one thing to say, “Zellweger’s current look doesn’t fit Bridget.” It’s quite another to say, “I conclude that she’s doing this because she’s rejecting herself, and rejecting herself doesn’t fit Bridget.”\u003c/p>\n\u003cp>But ultimately, to place this much of Zellweger’s appeal in her physical face anyway, particularly through this pretty-but-in-a-not-\u003cem>that\u003c/em>-pretty-way lens, is assigning to ourselves a different relationship to her physical self than we probably ought to have. Actresses can change their faces if they want to, exactly as they can tattoo their bodies. They owe us nothing. It’s misdirection, I think, to analyze Zellweger’s self-worth as if she’s old insecure Bridget, crying on the couch again. If this is wrong for her because we are concerned for actresses’ well-being, then it’s equally wrong for an actress who’s playing an action hero or a glamorous goddess. But if it’s wrong because she owes us her 2001 face so that we can have pinchable-cheeked Bridget Jones the way we remember her, I don’t think that’s how faces work. Yours is yours; you may do with it as you like, and she may also. You then go to the movie or do not, but she doesn’t owe anyone any specific appearance at all.\u003c/p>\n\u003cp>Moreover, I’m not sure it’s more insidious (his word) to change your appearance substantially than it is to, as Gleiberman puts it, “nip and tuck” to avoid the appearance of aging and stay precisely as you are? Aging \u003cem>invites \u003c/em>the rejection of the self in the sense that it’s that same self, after all, that determinedly changes its appearance unless you intervene. Accepting that aging is natural requires accepting that a person whose appearance does \u003cem>not\u003c/em> change because of constant maintenance is not automatically more or less engaged in self-acceptance than someone who shows up with an entirely different nose. Choosing to push back against the naturally emerging visual manifestation of yourself — grayer, perhaps, or with more wrinkles — is certainly no \u003cem>less\u003c/em> emotionally fraught for many people than choosing to push back against the current version of yourself by coloring your hair or getting a tattoo or plumping your lips. People change how they present; it’s deeply personal.\u003c/p>\n\u003cp>A lot of people who lament cosmetic procedures in Hollywood say that they are — and in fact they consciously are — trying to take up for actresses who feel forced into it. And to them I would say this: If that’s the issue, even assuming you’re right, you’ll do more good by directing the anger at the problem, not at what your own analysis suggests the people affected by it do to survive.\u003c/p>\n\u003cp>Perhaps it’s vanity. Perhaps it’s pressure. Perhaps all that nipping and tucking that we don’t notice and dismiss as normal upkeep has blinded us to what it really looks like when actors age. How sure are we that we know what aging looks like in all cases? Have you ever been to a high school reunion?\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>No one wants anyone to feel \u003cem>forced\u003c/em> into a rejection of the self. Still, the narrower we make the path that a pretty/ordinary or pretty ordinary woman has to walk — engaged in constant but undetectable upkeep, naturally gorgeous but possessed of a mole or a crooked smile or something else that tells us she might have been next to us in the yearbook — the more, not less, brutal this entire business becomes. \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=About+Face%3A+On+Beauty%2C+Characters+And+Threading+The+Needle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11785931/about-face-on-beauty-characters-and-threading-the-needle",
"authors": [
"byline_arts_11785931"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11785935",
"label": "arts_137"
},
"arts_11781548": {
"type": "posts",
"id": "arts_11781548",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11781548",
"score": null,
"sort": [
1467827898000
]
},
"guestAuthors": [],
"slug": "a-starkly-different-iron-man-black-female-and-15-years-old",
"title": "A Starkly Different Iron Man: Black, Female, and 15 Years Old",
"publishDate": 1467827898,
"format": "standard",
"headTitle": "A Starkly Different Iron Man: Black, Female, and 15 Years Old | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Meet Riri Williams, a teenage genius who will be stepping into the Iron Man suit following the events of Marvel Comics' latest crossover event.",
"status": "publish",
"parent": 0,
"modified": 1726787567,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 646
},
"headData": {
"title": "A Starkly Different Iron Man: Black, Female, and 15 Years Old | KQED",
"description": "Meet Riri Williams, a teenage genius who will be stepping into the Iron Man suit following the events of Marvel Comics' latest crossover event.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Starkly Different Iron Man: Black, Female, and 15 Years Old",
"datePublished": "2016-07-06T10:58:18-07:00",
"dateModified": "2024-09-19T16:12:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Glen Weldon",
"nprImageAgency": "Marvel Comics",
"nprStoryId": "484945363",
"nprApiLink": "http://api.npr.org/query?id=484945363&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/monkeysee/2016/07/06/484945363/a-starkly-different-iron-man-black-female-and-15-years-old?ft=nprml&f=484945363",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Jul 2016 12:27:00 -0400",
"nprStoryDate": "Wed, 06 Jul 2016 12:21:00 -0400",
"nprLastModifiedDate": "Wed, 06 Jul 2016 12:27:28 -0400",
"path": "/arts/11781548/a-starkly-different-iron-man-black-female-and-15-years-old",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\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>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11781548/a-starkly-different-iron-man-black-female-and-15-years-old",
"authors": [
"byline_arts_11781548"
],
"categories": [
"arts_73",
"arts_235",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11781549",
"label": "arts_137"
},
"arts_11751052": {
"type": "posts",
"id": "arts_11751052",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11751052",
"score": null,
"sort": [
1467381625000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1467381625,
"format": "standard",
"title": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in 'Wiener-Dog'",
"headTitle": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in ‘Wiener-Dog’ | KQED",
"content": "\u003cp>The great critic Robert Warshaw once pegged the gangster movie as “the \u003cem>no\u003c/em> to the great American \u003cem>yes\u003c/em> that is stamped so large over our official culture.”\u003c/p>\n\u003cp>Todd Solondz doesn’t make gangster films, but I can’t think of a better way to describe his corrosive domestic comedies — you absolutely should see \u003cem>Welcome to the Dollhouse\u003c/em>, \u003cem>Happiness\u003c/em>, \u003cem>Storytelling\u003c/em> or \u003cem>Palindromes\u003c/em>, but not if you need cheering up about the order of things. Solondz’s territory is the suburb, all tricked out in Have-A-Nice-Day primary colors, but that’s about it for American optimism. From then on it’s \u003cem>no, no, no\u003c/em> all the way for the benighted inhabitants of a crippled American Dream.\u003c/p>\n\u003cp>https://youtu.be/8C7OewoxnKI\u003c/p>\n\u003cp>Solondz doesn’t work in the realist mode — the star of his new movie is a traveling dachshund, cute as a button — but \u003cem>Wiener-Dog\u003c/em> cuts alarmingly close to the, uh, bone of our collective past, present and possible future. \u003cbr>We meet the titular dachshund circling a narrow cage at the pound, looking for comfort. She’s not alone: passed carelessly from hand to hand, the repeatedly renamed pooch serves as the connective tissue between a succession of suburbanites staggering through dark days.\u003c/p>\n\u003cp>Solondz has often used similar scenarios to take apart media-fed pieties about sexual abuse, pornography, abortion, the Holocaust. But Wiener-Dog’s foster parents seem lost and lonely, stuck in the mud of a disconnected anomie. Adopted into the clinically elegant home of a stressed couple (Julie Delpy and Tracy Letts), the dog soon wreaks graphically poopy havoc with their plans to console their small son (Keaton Nigel Cooke), a recent cancer survivor. Which may or may not be why the summarily dumped pooch is renamed Doody by a vet’s assistant named Dawn Wiener. Solondz loves to shift shapes: Memorably played by a teenaged Heather Matarazzo in \u003cem>Welcome to the Dollhouse\u003c/em>, Dawn is now realized by Greta Gerwig, a golden beauty hidden behind horrid glasses and dispiriting, unflattering threads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All grown up in theory, Dawn is kindly but boneless and unfocused, which may explain why she eagerly joins a former classmate and tormentor (Kieran Culkin) on an iffy road trip to the heartland with Doody in tow — until the dog is handed off to the love object’s brother (Connor Long), whose Down Syndrome is rigorously unsentimentalized. From there it’s a quick trot to Professor Schmerz (a very good Danny DeVito), a suffering film instructor and failed screenwriter. \u003cem>Schmerz\u003c/em> means “pain\u003cem>“\u003c/em> in German, so you get the picture, and soon the dog lands in the living room of an old woman played by Ellen Burstyn with a recalcitrant scowl and lank hair. Sick and embittered, she’s plagued by her leeching no-hoper of a granddaughter (Zosia Mamet) and a bunch of identical girlish apparitions, a Stepford Greek chorus reminding her of the better women she might have become on roads not taken.\u003c/p>\n\u003cp>Existentially speaking, Solondz gives no quarter, nor does he mince words about where we’re all headed. His vision of our predicament is bleakly funny and weirdly heartfelt. Ever the pessimist, he’s rarely a cynic. In interview after interview the director has made it clear that his sympathy for dweebs and failures everywhere is rooted in personal experience. And in \u003cem>Wiener-Dog\u003c/em> he’s far more likely to make short work of the film-theory mumbo-jumbo of hipster cinema students than of their hidebound professor, still beavering away at the principles of three-act structure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What do we believe in?” a small boy asks his glibly atheist mother near the beginning of \u003cem>Wiener-Dog\u003c/em>. “Truth, compassion, love,” she answers tenderly, while doling out heedless cruelty to a putative pet. Solondz may be asking who’s rescuing whom here. Is that a ray of hope speeding by these walking wounded, so preoccupied with their own miseries they fail to see that caring for others, canine or human, may be the only redemption? Or is it just a sausage dog on a skateboard?\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 703,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705033727,
"excerpt": "Director Todd Solondz follows an adorable dachshund as it passes from one blisteringly lonely suburbanite to another.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Todd Solondz follows an adorable dachshund as it passes from one blisteringly lonely suburbanite to another.",
"title": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in 'Wiener-Dog' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Cute Pooch Sets Out On A Picaresque Tour Of Human Pathos in 'Wiener-Dog'",
"datePublished": "2016-07-01T07:00:25-07:00",
"dateModified": "2024-01-11T20:28:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=482791231&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 23 Jun 2016 17:00:15 -0400",
"nprLastModifiedDate": "Thu, 23 Jun 2016 17:00:15 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/06/23/482791231/solondzs-wiener-dog-a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos?ft=nprml&f=482791231",
"nprImageAgency": "Amazon Studios & IFC Films ",
"nprImageCredit": "Linda Callerus",
"nprStoryId": "482791231",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 23 Jun 2016 17:00:00 -0400",
"path": "/arts/11751052/a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great critic Robert Warshaw once pegged the gangster movie as “the \u003cem>no\u003c/em> to the great American \u003cem>yes\u003c/em> that is stamped so large over our official culture.”\u003c/p>\n\u003cp>Todd Solondz doesn’t make gangster films, but I can’t think of a better way to describe his corrosive domestic comedies — you absolutely should see \u003cem>Welcome to the Dollhouse\u003c/em>, \u003cem>Happiness\u003c/em>, \u003cem>Storytelling\u003c/em> or \u003cem>Palindromes\u003c/em>, but not if you need cheering up about the order of things. Solondz’s territory is the suburb, all tricked out in Have-A-Nice-Day primary colors, but that’s about it for American optimism. From then on it’s \u003cem>no, no, no\u003c/em> all the way for the benighted inhabitants of a crippled American Dream.\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/8C7OewoxnKI'\n title='//www.youtube.com/embed/8C7OewoxnKI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Solondz doesn’t work in the realist mode — the star of his new movie is a traveling dachshund, cute as a button — but \u003cem>Wiener-Dog\u003c/em> cuts alarmingly close to the, uh, bone of our collective past, present and possible future. \u003cbr>We meet the titular dachshund circling a narrow cage at the pound, looking for comfort. She’s not alone: passed carelessly from hand to hand, the repeatedly renamed pooch serves as the connective tissue between a succession of suburbanites staggering through dark days.\u003c/p>\n\u003cp>Solondz has often used similar scenarios to take apart media-fed pieties about sexual abuse, pornography, abortion, the Holocaust. But Wiener-Dog’s foster parents seem lost and lonely, stuck in the mud of a disconnected anomie. Adopted into the clinically elegant home of a stressed couple (Julie Delpy and Tracy Letts), the dog soon wreaks graphically poopy havoc with their plans to console their small son (Keaton Nigel Cooke), a recent cancer survivor. Which may or may not be why the summarily dumped pooch is renamed Doody by a vet’s assistant named Dawn Wiener. Solondz loves to shift shapes: Memorably played by a teenaged Heather Matarazzo in \u003cem>Welcome to the Dollhouse\u003c/em>, Dawn is now realized by Greta Gerwig, a golden beauty hidden behind horrid glasses and dispiriting, unflattering threads.\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>All grown up in theory, Dawn is kindly but boneless and unfocused, which may explain why she eagerly joins a former classmate and tormentor (Kieran Culkin) on an iffy road trip to the heartland with Doody in tow — until the dog is handed off to the love object’s brother (Connor Long), whose Down Syndrome is rigorously unsentimentalized. From there it’s a quick trot to Professor Schmerz (a very good Danny DeVito), a suffering film instructor and failed screenwriter. \u003cem>Schmerz\u003c/em> means “pain\u003cem>“\u003c/em> in German, so you get the picture, and soon the dog lands in the living room of an old woman played by Ellen Burstyn with a recalcitrant scowl and lank hair. Sick and embittered, she’s plagued by her leeching no-hoper of a granddaughter (Zosia Mamet) and a bunch of identical girlish apparitions, a Stepford Greek chorus reminding her of the better women she might have become on roads not taken.\u003c/p>\n\u003cp>Existentially speaking, Solondz gives no quarter, nor does he mince words about where we’re all headed. His vision of our predicament is bleakly funny and weirdly heartfelt. Ever the pessimist, he’s rarely a cynic. In interview after interview the director has made it clear that his sympathy for dweebs and failures everywhere is rooted in personal experience. And in \u003cem>Wiener-Dog\u003c/em> he’s far more likely to make short work of the film-theory mumbo-jumbo of hipster cinema students than of their hidebound professor, still beavering away at the principles of three-act structure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What do we believe in?” a small boy asks his glibly atheist mother near the beginning of \u003cem>Wiener-Dog\u003c/em>. “Truth, compassion, love,” she answers tenderly, while doling out heedless cruelty to a putative pet. Solondz may be asking who’s rescuing whom here. Is that a ray of hope speeding by these walking wounded, so preoccupied with their own miseries they fail to see that caring for others, canine or human, may be the only redemption? Or is it just a sausage dog on a skateboard?\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11751052/a-cute-pooch-sets-out-on-a-picaresque-tour-of-human-pathos",
"authors": [
"byline_arts_11751052"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11751055",
"label": "arts_137"
},
"arts_11758324": {
"type": "posts",
"id": "arts_11758324",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11758324",
"score": null,
"sort": [
1467317523000
]
},
"guestAuthors": [],
"slug": "a-new-apple-patent-could-block-fans-from-taping-at-shows",
"title": "A New Apple Patent Could Block Fans from Taping at Shows",
"publishDate": 1467317523,
"format": "standard",
"headTitle": "A New Apple Patent Could Block Fans from Taping at Shows | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \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=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The technology giant now has a patent for a system that could prevent you from taking photos or recording videos in specific places, like concert venues or movie theaters.",
"status": "publish",
"parent": 0,
"modified": 1726771133,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 803
},
"headData": {
"title": "A New Apple Patent Could Block Fans from Taping at Shows | KQED",
"description": "The technology giant now has a patent for a system that could prevent you from taking photos or recording videos in specific places, like concert venues or movie theaters.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Apple Patent Could Block Fans from Taping at Shows",
"datePublished": "2016-06-30T13:12:03-07:00",
"dateModified": "2024-09-19T11:38:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Ethan Miller",
"nprByline": "Anastasia Tsioulcas",
"nprImageAgency": "Getty Images",
"nprStoryId": "484064393",
"nprApiLink": "http://api.npr.org/query?id=484064393&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/therecord/2016/06/30/484064393/a-new-apple-patent-could-block-fans-from-taping-at-shows?ft=nprml&f=484064393",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 30 Jun 2016 11:03:00 -0400",
"nprStoryDate": "Thu, 30 Jun 2016 10:51:00 -0400",
"nprLastModifiedDate": "Thu, 30 Jun 2016 11:03:03 -0400",
"path": "/arts/11758324/a-new-apple-patent-could-block-fans-from-taping-at-shows",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\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>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \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=A+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11758324/a-new-apple-patent-could-block-fans-from-taping-at-shows",
"authors": [
"byline_arts_11758324"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1254",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11758325",
"label": "arts_137"
},
"arts_11750372": {
"type": "posts",
"id": "arts_11750372",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11750372",
"score": null,
"sort": [
1467161683000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1467161683,
"format": "standard",
"title": "Smithsonian Sets Phasers to Restore on Original Starship Enterprise",
"headTitle": "Smithsonian Sets Phasers to Restore on Original Starship Enterprise | KQED",
"content": "\u003cp>Sorry to disappoint Trekkies who still believe, but the actual USS Enterprise did not really take up much space.\u003c/p>\n\u003cp>That famous starship of Mr. Spock and Capt. James Tiberius Kirk in the original \u003cem>Star Trek \u003c/em>TV series — which turns 50 this year — was a model. Quite a large one, to be fair: 11 feet long and about 200 lbs., made out of blow-molded plastic and wood. But not life-sized.\u003c/p>\n\u003cp>And for more than a decade, it hung in the gift shop of the Smithsonian’s National Air and Space museum in Washington, D.C.\u003c/p>\n\u003cp>“From a conservator’s standpoint, that is probably one of the worst places to put an artifact,” says Malcolm Collum, the chief conservator of the National Air and Space Museum.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/1383489/1383490\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Collum lead the team that has been painstakingly restoring the Enterprise over the last year and half. Conservators used a portable x-ray machine — borrowed from the National Zoo — to piece together the internal structure of the ship.\u003c/p>\n\u003cp>Though the model has been restored a few times before, the goal this time was to bring the starship back to its TV glory days — circa 1967.\u003c/p>\n\u003cp>“It’s an iconic artifact, so we’re really treating this as something that is — it needs to be preserved and treated as authentically as possible,” Collum says.\u003c/p>\n\u003cp>The previous restoration in the 1990s, completed in collaboration with the museum, was controversial for its more interpretive coloring.\u003c/p>\n\u003cp>Collum says one thing they had to get right this time was the color: green, not grey or white as it appeared on the screen.\u003c/p>\n\u003cp>“In reality it looks very green and that’s usually the thing that people balk at when they first see it,” Collum says.\u003c/p>\n\u003cp>That look was designed with purpose.\u003c/p>\n\u003cp>“The folks that built the model knew that they had to put on certain colors that would read well in the studio, but they couldn’t use blues because they were using a blue screen background,” he says.\u003c/p>\n\u003cp>The detailing of the ship, however, only extends halfway — the Enterprise was only filmed from its starboard side. When the series needed to show the port side, editors just reversed the film and added different decals.\u003c/p>\n\u003cp>“We really want to convey to the audience that this is a studio model,” Collum says. “It’s not only the iconic spaceship that was on the television series, but it is a physically functioning studio prop that had to be lit, it had to be properly supported, the wires had to be hidden.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Tues., June 28, the USS Enterprise will reach its final frontier beside other famous and historical aircraft in the Boeing Milestones of Flight Hall at the Smithsonian Air and Space Museum. \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=Smithsonian+Sets+Phasers+To+Restore+On+Original+Starship+Enterprise&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 491,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705033766,
"excerpt": "The Starship Enterprise — from the original Star Trek series — has gotten a restoration fit for a real life spacecraft. It goes on display this week at the Smithsonian National Air and Space Museum.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Starship Enterprise — from the original Star Trek series — has gotten a restoration fit for a real life spacecraft. It goes on display this week at the Smithsonian National Air and Space Museum.",
"title": "Smithsonian Sets Phasers to Restore on Original Starship Enterprise | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Smithsonian Sets Phasers to Restore on Original Starship Enterprise",
"datePublished": "2016-06-28T17:54:43-07:00",
"dateModified": "2024-01-11T20:29:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "smithsonian-sets-phasers-to-restore-on-original-starship-enterprise",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=483281249&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff",
"nprStoryDate": "Tue, 28 Jun 2016 04:52:00 -0400",
"nprLastModifiedDate": "Tue, 28 Jun 2016 09:06:00 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/06/28/483281249/smithsonian-sets-phasers-to-restore-on-original-starship-enterprise?ft=nprml&f=483281249",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/06/20160628_me_smithsonian_sets_phasers_to_restore_on_original_starship_enterprise.mp3?orgId=1&topicId=1048&d=112&p=3&story=483281249&t=progseg&e=483811426&seg=10&ft=nprml&f=483281249",
"nprImageAgency": "Ashley Westerman for NPR",
"nprAudioM3u": "http://api.npr.org/m3u/1483811567-d90329.m3u?orgId=1&topicId=1048&d=112&p=3&story=483281249&t=progseg&e=483811426&seg=10&ft=nprml&f=483281249",
"nprStoryId": "483281249",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 28 Jun 2016 12:19:00 -0400",
"path": "/arts/11750372/smithsonian-sets-phasers-to-restore-on-original-starship-enterprise",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/06/20160628_me_smithsonian_sets_phasers_to_restore_on_original_starship_enterprise.mp3?orgId=1&topicId=1048&d=112&p=3&story=483281249&t=progseg&e=483811426&seg=10&ft=nprml&f=483281249",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sorry to disappoint Trekkies who still believe, but the actual USS Enterprise did not really take up much space.\u003c/p>\n\u003cp>That famous starship of Mr. Spock and Capt. James Tiberius Kirk in the original \u003cem>Star Trek \u003c/em>TV series — which turns 50 this year — was a model. Quite a large one, to be fair: 11 feet long and about 200 lbs., made out of blow-molded plastic and wood. But not life-sized.\u003c/p>\n\u003cp>And for more than a decade, it hung in the gift shop of the Smithsonian’s National Air and Space museum in Washington, D.C.\u003c/p>\n\u003cp>“From a conservator’s standpoint, that is probably one of the worst places to put an artifact,” says Malcolm Collum, the chief conservator of the National Air and Space Museum.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/1383489/1383490\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\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>Collum lead the team that has been painstakingly restoring the Enterprise over the last year and half. Conservators used a portable x-ray machine — borrowed from the National Zoo — to piece together the internal structure of the ship.\u003c/p>\n\u003cp>Though the model has been restored a few times before, the goal this time was to bring the starship back to its TV glory days — circa 1967.\u003c/p>\n\u003cp>“It’s an iconic artifact, so we’re really treating this as something that is — it needs to be preserved and treated as authentically as possible,” Collum says.\u003c/p>\n\u003cp>The previous restoration in the 1990s, completed in collaboration with the museum, was controversial for its more interpretive coloring.\u003c/p>\n\u003cp>Collum says one thing they had to get right this time was the color: green, not grey or white as it appeared on the screen.\u003c/p>\n\u003cp>“In reality it looks very green and that’s usually the thing that people balk at when they first see it,” Collum says.\u003c/p>\n\u003cp>That look was designed with purpose.\u003c/p>\n\u003cp>“The folks that built the model knew that they had to put on certain colors that would read well in the studio, but they couldn’t use blues because they were using a blue screen background,” he says.\u003c/p>\n\u003cp>The detailing of the ship, however, only extends halfway — the Enterprise was only filmed from its starboard side. When the series needed to show the port side, editors just reversed the film and added different decals.\u003c/p>\n\u003cp>“We really want to convey to the audience that this is a studio model,” Collum says. “It’s not only the iconic spaceship that was on the television series, but it is a physically functioning studio prop that had to be lit, it had to be properly supported, the wires had to be hidden.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Tues., June 28, the USS Enterprise will reach its final frontier beside other famous and historical aircraft in the Boeing Milestones of Flight Hall at the Smithsonian Air and Space Museum. \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=Smithsonian+Sets+Phasers+To+Restore+On+Original+Starship+Enterprise&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11750372/smithsonian-sets-phasers-to-restore-on-original-starship-enterprise",
"authors": [
"byline_arts_11750372"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11750373",
"label": "arts_137"
},
"arts_11735950": {
"type": "posts",
"id": "arts_11735950",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11735950",
"score": null,
"sort": [
1466882140000
]
},
"guestAuthors": [],
"slug": "obama-names-lgbt-landmark-as-national-monument",
"title": "Obama Names LGBT Landmark as National Monument",
"publishDate": 1466882140,
"format": "standard",
"headTitle": "Obama Names LGBT Landmark as National Monument | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>President Obama is designating a new national monument around the Stonewall Inn, the birthplace of the modern gay rights movement.\u003c/p>\n\u003cp>The Stonewall National Monument in New York City will be the first addition to the National Park System specifically highlighting the history of the LGBT community.\u003c/p>\n\u003cp>The monument covers nearly 8 acres in New York’s Greenwich Village including a landmark gay bar, the Stonewall Inn. In June of 1969, patrons at the bar fought back against police persecution — an event that’s widely seen as a watershed in the campaign for LGBT rights.\u003c/p>\n\u003cp>“Raids like these were nothing new, but this time the patrons had had enough,” Obama said in a White House video announcing the new monument. “So they stood up and spoke out. The riots became protests. The protests became a movement. The movement ultimately became an integral part of America.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ywtvJyXDWkk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Obama had previously highlighted the significance of Stonewall in his second inaugural address, weaving the battle for gay rights into a larger tapestry of civil rights for women and African-Americans.\u003c/p>\n\u003cp>“That all of us are created equal is the star that guides us still, just as it guided our forebears through Seneca Falls and Selma and Stonewall,” Obama told a cheering crowd on the National Mall in January 2013.\u003c/p>\n\u003cp>Designation of the Stonewall monument comes just days before the first anniversary of the 2015 Supreme Court ruling that legalized same-sex marriage in all 50 states. It also follows less than two weeks after 49 patrons at a gay bar in Orlando, Fla., were killed in a mass shooting.\u003c/p>\n\u003cp>Creation of the national monument, which also includes Christopher Park and the surrounding area, required some complex land swaps. It had the backing of state and local officials in New York.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stonewall is finally taking its rightful place in American history,” said Rep. Jerrold Nadler, D-N.Y., who helped lead the effort. “We are faced with painful reminders daily of how much further we must go to achieve true equality and tolerance for the LGBT community, but honoring and preserving the stories of all of the diverse participants in Stonewall in our National Park System is a clear symbol of how far we have come.” \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=Obama+Names+LGBT+Landmark+As+National+Monument&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The Stonewall National Monument in New York City will be the first addition to the National Park System specifically highlighting the history of the LGBT community.",
"status": "publish",
"parent": 0,
"modified": 1726787579,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 403
},
"headData": {
"title": "Obama Names LGBT Landmark as National Monument | KQED",
"description": "The Stonewall National Monument in New York City will be the first addition to the National Park System specifically highlighting the history of the LGBT community.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Obama Names LGBT Landmark as National Monument",
"datePublished": "2016-06-25T12:15:40-07:00",
"dateModified": "2024-09-19T16:12:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Kathy Willens",
"nprByline": "Scott Horsley",
"nprImageAgency": "AP",
"nprStoryId": "483385747",
"nprApiLink": "http://api.npr.org/query?id=483385747&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/06/24/483385747/obama-names-lgbt-landmark-as-national-monument?ft=nprml&f=483385747",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Jun 2016 15:49:00 -0400",
"nprStoryDate": "Fri, 24 Jun 2016 12:19:00 -0400",
"nprLastModifiedDate": "Fri, 24 Jun 2016 15:49:53 -0400",
"path": "/arts/11735950/obama-names-lgbt-landmark-as-national-monument",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Obama is designating a new national monument around the Stonewall Inn, the birthplace of the modern gay rights movement.\u003c/p>\n\u003cp>The Stonewall National Monument in New York City will be the first addition to the National Park System specifically highlighting the history of the LGBT community.\u003c/p>\n\u003cp>The monument covers nearly 8 acres in New York’s Greenwich Village including a landmark gay bar, the Stonewall Inn. In June of 1969, patrons at the bar fought back against police persecution — an event that’s widely seen as a watershed in the campaign for LGBT rights.\u003c/p>\n\u003cp>“Raids like these were nothing new, but this time the patrons had had enough,” Obama said in a White House video announcing the new monument. “So they stood up and spoke out. The riots became protests. The protests became a movement. The movement ultimately became an integral part of America.”\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/ywtvJyXDWkk'\n title='//www.youtube.com/embed/ywtvJyXDWkk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Obama had previously highlighted the significance of Stonewall in his second inaugural address, weaving the battle for gay rights into a larger tapestry of civil rights for women and African-Americans.\u003c/p>\n\u003cp>“That all of us are created equal is the star that guides us still, just as it guided our forebears through Seneca Falls and Selma and Stonewall,” Obama told a cheering crowd on the National Mall in January 2013.\u003c/p>\n\u003cp>Designation of the Stonewall monument comes just days before the first anniversary of the 2015 Supreme Court ruling that legalized same-sex marriage in all 50 states. It also follows less than two weeks after 49 patrons at a gay bar in Orlando, Fla., were killed in a mass shooting.\u003c/p>\n\u003cp>Creation of the national monument, which also includes Christopher Park and the surrounding area, required some complex land swaps. It had the backing of state and local officials in New York.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stonewall is finally taking its rightful place in American history,” said Rep. Jerrold Nadler, D-N.Y., who helped lead the effort. “We are faced with painful reminders daily of how much further we must go to achieve true equality and tolerance for the LGBT community, but honoring and preserving the stories of all of the diverse participants in Stonewall in our National Park System is a clear symbol of how far we have come.” \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=Obama+Names+LGBT+Landmark+As+National+Monument&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11735950/obama-names-lgbt-landmark-as-national-monument",
"authors": [
"byline_arts_11735950"
],
"categories": [
"arts_235",
"arts_75"
],
"tags": [
"arts_1254",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11735951",
"label": "arts_137"
},
"arts_11735944": {
"type": "posts",
"id": "arts_11735944",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11735944",
"score": null,
"sort": [
1466881288000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1466881288,
"format": "standard",
"title": "Bluegrass Pioneer Ralph Stanley Dies at 89",
"headTitle": "Bluegrass Pioneer Ralph Stanley Dies at 89 | KQED",
"content": "\u003cp>One of the early leaders of bluegrass music, Ralph Stanley, has died at age 89. His death was announced by his grandson \u003ca href=\"http://www.nathanstanleyentertainment.com/\" target=\"_blank\" rel=\"noopener\">Nathan Stanley\u003c/a>; Stanley’s publicist said in a statement that the cause was complications from skin cancer.\u003c/p>\n\u003cp>Ralph and his older brother Carter started out in the late 1940s as a duo. After Carter died in 1966, Ralph continued with his band the Clinch Mountain Boys and built a fan base fiercely devoted to his straightforward banjo and archaic-type singing known as the “high lonesome” mountain sound.\u003c/p>\n\u003ch3>High Lonesome\u003c/h3>\n\u003cp>Stanley’s sound came in part from the fact that he often sang in a minor key, while his band played in a happy-sounding major key.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WrnYWc4ZmG0\u003c/p>\n\u003cp>John Wright, who wrote a book on Stanley called \u003cem>Traveling the High Way Home\u003c/em>, says that tension between minor and major, plus what he called Stanley’s unearthly smokey vocal tone, “gives this old-time mysterious flavor to the singing. The voice sounds like it’s coming out of the past, like a ghost or something like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stanley himself told WHYY’s \u003cem>Fresh Air\u003c/em> in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”\u003c/p>\n\u003ch3>Virginia Roots\u003c/h3>\n\u003cp>Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.\u003c/p>\n\u003cp>He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show \u003cem>Farm and Fun Time\u003c/em>. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.\u003c/p>\n\u003cp>After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.\u003c/p>\n\u003ch3>O, Brother\u003c/h3>\n\u003cp>Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie \u003cem>O Brother, Where Art Thou\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ca7JCI5Jjhk\u003c/p>\n\u003cp>He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nn4Kbarc8w\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=Bluegrass+Pioneer+Ralph+Stanley+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 453,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705033799,
"excerpt": "Stanley was one of the early leaders of bluegrass music, and enjoyed an unexpectedly broad following after he sang \"O, Death\" in the film 'O, Brother, Where Art Thou.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Stanley was one of the early leaders of bluegrass music, and enjoyed an unexpectedly broad following after he sang "O, Death" in the film 'O, Brother, Where Art Thou.'",
"title": "Bluegrass Pioneer Ralph Stanley Dies at 89 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bluegrass Pioneer Ralph Stanley Dies at 89",
"datePublished": "2016-06-25T12:01:28-07:00",
"dateModified": "2024-01-11T20:29:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bluegrass-pioneer-ralph-stanley-dies-at-89",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=483315303&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Thu, 23 Jun 2016 23:51:00 -0400",
"nprLastModifiedDate": "Fri, 24 Jun 2016 08:35:15 -0400",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/06/23/483315303/bluegrass-pioneer-ralph-stanley-dies-at-89?ft=nprml&f=483315303",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/06/20160624_me_bluegrass_hall_of_famer_ralph_stanley_dies_at_89.mp3?orgId=1&topicId=1039&d=231&story=483315303&ft=nprml&f=483315303",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1483352301-b6ffe6.m3u?orgId=1&topicId=1039&d=231&story=483315303&ft=nprml&f=483315303",
"nprStoryId": "483315303",
"nprByline": "Paul Brown",
"sticky": false,
"nprImageCredit": "Karl Walter",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Jun 2016 08:33:00 -0400",
"path": "/arts/11735944/bluegrass-pioneer-ralph-stanley-dies-at-89",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/06/20160624_me_bluegrass_hall_of_famer_ralph_stanley_dies_at_89.mp3?orgId=1&topicId=1039&d=231&story=483315303&ft=nprml&f=483315303",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the early leaders of bluegrass music, Ralph Stanley, has died at age 89. His death was announced by his grandson \u003ca href=\"http://www.nathanstanleyentertainment.com/\" target=\"_blank\" rel=\"noopener\">Nathan Stanley\u003c/a>; Stanley’s publicist said in a statement that the cause was complications from skin cancer.\u003c/p>\n\u003cp>Ralph and his older brother Carter started out in the late 1940s as a duo. After Carter died in 1966, Ralph continued with his band the Clinch Mountain Boys and built a fan base fiercely devoted to his straightforward banjo and archaic-type singing known as the “high lonesome” mountain sound.\u003c/p>\n\u003ch3>High Lonesome\u003c/h3>\n\u003cp>Stanley’s sound came in part from the fact that he often sang in a minor key, while his band played in a happy-sounding major key.\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/WrnYWc4ZmG0'\n title='//www.youtube.com/embed/WrnYWc4ZmG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>John Wright, who wrote a book on Stanley called \u003cem>Traveling the High Way Home\u003c/em>, says that tension between minor and major, plus what he called Stanley’s unearthly smokey vocal tone, “gives this old-time mysterious flavor to the singing. The voice sounds like it’s coming out of the past, like a ghost or something like that.”\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>Stanley himself told WHYY’s \u003cem>Fresh Air\u003c/em> in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”\u003c/p>\n\u003ch3>Virginia Roots\u003c/h3>\n\u003cp>Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.\u003c/p>\n\u003cp>He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show \u003cem>Farm and Fun Time\u003c/em>. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.\u003c/p>\n\u003cp>After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.\u003c/p>\n\u003ch3>O, Brother\u003c/h3>\n\u003cp>Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie \u003cem>O Brother, Where Art Thou\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ca7JCI5Jjhk'\n title='//www.youtube.com/embed/ca7JCI5Jjhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.” \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/9nn4Kbarc8w'\n title='//www.youtube.com/embed/9nn4Kbarc8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Bluegrass+Pioneer+Ralph+Stanley+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11735944/bluegrass-pioneer-ralph-stanley-dies-at-89",
"authors": [
"byline_arts_11735944"
],
"categories": [
"arts_74",
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11735945",
"label": "arts_137"
},
"arts_11735939": {
"type": "posts",
"id": "arts_11735939",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11735939",
"score": null,
"sort": [
1466880274000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1466880274,
"format": "standard",
"title": "Parliament-Funkadelic's Bernie Worrell, 'Wizard Of Woo,' Dies at 72",
"headTitle": "Parliament-Funkadelic’s Bernie Worrell, ‘Wizard Of Woo,’ Dies at 72 | KQED",
"content": "\u003cp>Keyboardist and composer Bernie Worrell, who helped shape the sound of the band Parliament-Funkadelic and influenced countless artists across a wide range of genres, died Friday at 72.\u003c/p>\n\u003cp>Worrell announced earlier this year that he had been diagnosed with late-stage lung cancer.\u003c/p>\n\u003cp>His musical life began early — according to his official biography, he started studying piano at age 3, wrote his first concerto at age 8 and performed with the National Symphony Orchestra in Washington, D.C., at 10.\u003c/p>\n\u003cp>The classically trained keyboardist (he studied at Juilliard and the New England Conservatory of Music) made his name — and an indelible mark on music — in the world of P-Funk.\u003c/p>\n\u003cp>Worrell, aka “The Wizard of Woo,” was an early member of Parliament-Funkadelic, George Clinton’s sprawling, theatrical and wildly influential funk collective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UkLYlrE2lPs\u003c/p>\n\u003cp>The \u003ca href=\"https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame\u003c/a> notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.\u003c/p>\n\u003cp>He was particularly famous for his innovative embrace of the sounds of synthesizers.\u003c/p>\n\u003cp>In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.\u003c/p>\n\u003cp>Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are \u003ca href=\"http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem\" target=\"_blank\" rel=\"noopener\">frequently sampled\u003c/a> on hip-hop tracks.\u003c/p>\n\u003cp>In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for \u003cem>Morning Edition. \u003c/em>Worrell said his mastery of musical fundamentals was central to his genre-mashing work.\u003c/p>\n\u003cp>“The art of creating is not just pushing a button,” he said. “We’re going to lose\u003cbr>the art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?\u003c/p>\n\u003cp>“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”\u003c/p>\n\u003cp>You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/482486305/482504633\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An \u003ca href=\"https://www.youcaring.com/bernie-worell-501298\" target=\"_blank\" rel=\"noopener\">online fundraiser\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325\" target=\"_blank\" rel=\"noopener\">star-studded benefit concert\u003c/a> helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.\u003c/p>\n\u003cp>George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.\u003c/p>\n\u003cp>The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to –” \u003ca href=\"https://www.youtube.com/watch?v=WmTg3qlODPk\" target=\"_blank\" rel=\"noopener\">Worrell said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thank you,” he finally said. “I love you, too.” \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=Bernie+Worrell%2C+%27Wizard+Of+Woo%2C%27+Dies+At+72&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 592,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705033801,
"excerpt": "The influential keyboardist and composer had been diagnosed with late-stage lung cancer. Worrell was a key member of Parliament-Funkadelic and played with the Talking Heads.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The influential keyboardist and composer had been diagnosed with late-stage lung cancer. Worrell was a key member of Parliament-Funkadelic and played with the Talking Heads.",
"title": "Parliament-Funkadelic's Bernie Worrell, 'Wizard Of Woo,' Dies at 72 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Parliament-Funkadelic's Bernie Worrell, 'Wizard Of Woo,' Dies at 72",
"datePublished": "2016-06-25T11:44:34-07:00",
"dateModified": "2024-01-11T20:30:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "parliament-funkadelics-bernie-worrell-wizard-of-woo-dies-at-72",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=482486305&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Camila Domonoske",
"nprStoryDate": "Fri, 24 Jun 2016 16:54:00 -0400",
"nprLastModifiedDate": "Fri, 24 Jun 2016 17:12:54 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/06/24/482486305/bernie-worrell-wizard-of-woo-dies-at-72?ft=nprml&f=482486305",
"nprImageAgency": "WireImage",
"nprImageCredit": "Al Pereira",
"nprStoryId": "482486305",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Jun 2016 17:12:00 -0400",
"path": "/arts/11735939/parliament-funkadelics-bernie-worrell-wizard-of-woo-dies-at-72",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Keyboardist and composer Bernie Worrell, who helped shape the sound of the band Parliament-Funkadelic and influenced countless artists across a wide range of genres, died Friday at 72.\u003c/p>\n\u003cp>Worrell announced earlier this year that he had been diagnosed with late-stage lung cancer.\u003c/p>\n\u003cp>His musical life began early — according to his official biography, he started studying piano at age 3, wrote his first concerto at age 8 and performed with the National Symphony Orchestra in Washington, D.C., at 10.\u003c/p>\n\u003cp>The classically trained keyboardist (he studied at Juilliard and the New England Conservatory of Music) made his name — and an indelible mark on music — in the world of P-Funk.\u003c/p>\n\u003cp>Worrell, aka “The Wizard of Woo,” was an early member of Parliament-Funkadelic, George Clinton’s sprawling, theatrical and wildly influential funk collective.\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>\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/UkLYlrE2lPs'\n title='//www.youtube.com/embed/UkLYlrE2lPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame\u003c/a> notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.\u003c/p>\n\u003cp>He was particularly famous for his innovative embrace of the sounds of synthesizers.\u003c/p>\n\u003cp>In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.\u003c/p>\n\u003cp>Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are \u003ca href=\"http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem\" target=\"_blank\" rel=\"noopener\">frequently sampled\u003c/a> on hip-hop tracks.\u003c/p>\n\u003cp>In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for \u003cem>Morning Edition. \u003c/em>Worrell said his mastery of musical fundamentals was central to his genre-mashing work.\u003c/p>\n\u003cp>“The art of creating is not just pushing a button,” he said. “We’re going to lose\u003cbr>the art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?\u003c/p>\n\u003cp>“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”\u003c/p>\n\u003cp>You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/482486305/482504633\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An \u003ca href=\"https://www.youcaring.com/bernie-worell-501298\" target=\"_blank\" rel=\"noopener\">online fundraiser\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325\" target=\"_blank\" rel=\"noopener\">star-studded benefit concert\u003c/a> helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.\u003c/p>\n\u003cp>George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.\u003c/p>\n\u003cp>The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to –” \u003ca href=\"https://www.youtube.com/watch?v=WmTg3qlODPk\" target=\"_blank\" rel=\"noopener\">Worrell said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thank you,” he finally said. “I love you, too.” \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=Bernie+Worrell%2C+%27Wizard+Of+Woo%2C%27+Dies+At+72&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11735939/parliament-funkadelics-bernie-worrell-wizard-of-woo-dies-at-72",
"authors": [
"byline_arts_11735939"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11735940",
"label": "arts_137"
},
"arts_11722824": {
"type": "posts",
"id": "arts_11722824",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11722824",
"score": null,
"sort": [
1466625927000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1466625927,
"format": "standard",
"title": "\"And I'll Form ... The Head!\": 'Voltron' Reboot Gets (Almost) Everything Right",
"headTitle": "“And I’ll Form … The Head!”: ‘Voltron’ Reboot Gets (Almost) Everything Right | KQED",
"content": "\u003cp>“Nostalgia,” a wise man once wrote, “is the nutrient agar upon which nerd culture grows.”\u003c/p>\n\u003cp>… Reader, it was me. \u003ca href=\"http://books.simonandschuster.com/The-Caped-Crusade/Glen-Weldon/9781476756691\" target=\"_blank\" rel=\"noopener\">I wrote that\u003c/a>. And truthfully, looking at it now, it seems less “wise” than “kind of tortured” in that it leans too hard into the biological definition of “culture” for the sake of a feeble demi-pun, but never mind. The point is: nerds hold on to the things we loved when we were kids. Tightly.\u003c/p>\n\u003cp>That’s why nerd culture so often seems regressive, even reactionary, to normals: as a species, we tend to prize things as they \u003cem>once were\u003c/em> over things as they \u003cem>are\u003c/em>. It’s not our finest quality, and there are many among us — too many — who allow this preference to decay into a kind of rancorous resolve. These are the people who build hills upon which they’re fully prepared to die, or at least get \u003cem>really really\u003c/em> mad, out of things like the original \u003cem>Ghostbusters\u003c/em> movie.\u003c/p>\n\u003cp>Most of us, however, are comparatively clear-eyed about the stuff we loved as kids. We understand that our memories are colored by that love, and any new iteration of a beloved thing simply adds to, and does not replace, said thing.\u003c/p>\n\u003cp>We can recognize, for example, when the passage of time has imbued something we love with a certain cheesy quality. But to us, the cheese makes it all the better, richer, more flavorful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which brings me to \u003cem>Voltron\u003c/em>, an anime series syndicated in the U.S. from 1984 to 1987 that was the top-rated syndicated show for kids for two of those years. Oh my, but it was odd.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YwNHfyZZIuo\u003c/p>\n\u003cp>For one thing, it was an anime series on U.S. television when such things were still relatively rare; \u003cem>Speed Racer\u003c/em>, \u003cem>Marine Boy\u003c/em> and \u003cem>Star Blazers\u003c/em> had prepared the way, but \u003cem>Voltron\u003c/em>‘s runaway success established a beachhead subsequently overrun by\u003cem> Dragonball Z\u003c/em> and, especially, inescapably, \u003cem>Pokemon\u003c/em>.\u003c/p>\n\u003cp>The \u003cem>Voltron\u003c/em> (technically \u003cem>Voltron: Defender of the Universe\u003c/em>) seen in the U.S. originated as two different wondrously-named Japanese cartoons, \u003cem>Beast King Go-Lion\u003c/em> and \u003cem>Armored Fleet Dairugger XV\u003c/em>. Executive producer Peter Keefe bought the rights to both series, cut the violence back, and constructed new plots, dialogue, character backstories, everything.\u003c/p>\n\u003cp>For 72 episodes — some of which Keefe created out of whole cloth, having run out of old \u003cem>Go-Lion\u003c/em> episodes — Voltron was a show about a giant robot.\u003c/p>\n\u003cp>That wasn’t why we loved it, though. Giant robots were nothing special. Giant robots were a dime a dozen.\u003c/p>\n\u003cp>But \u003cem>this\u003c/em> robot … was made of \u003cem>lions\u003c/em>.\u003c/p>\n\u003cp>Lion-shaped robot spaceships, that is. Five of them. With tails and fangs and ears and paws, the whole mecha-feline schmear, for no readily discernible reason except the only one that mattered: they looked cool.\u003c/p>\n\u003cp>And when danger threatened, the guy in the lead lion-shaped robot spaceship intoned a battle cry so gleefully cheesy it raised your risk of heart disease, thus:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Form! Feet! And! Legs!\u003c/em>\u003c/p>\n\u003cp>\u003cem>Form! Arms! And! Torso!\u003c/em>\u003c/p>\n\u003cp>\u003cem>And I’ll form … The HEAD!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>And that’s exactly what would proceed to happen: those lion-shaped robot spaceships retracted their legs and tails to form themselves into limbs that attached themselves to the lead lion-shaped spaceship, and Voltron the giant robot was born.\u003c/p>\n\u003cp>A giant robot, mind you, \u003cem>whose feet and hands were the heads of robo-lions\u003c/em>. Imagine a knight in armor with a Muppet on each hand, shod in boots that Gene Simmons would reject as “too much.” That was the look. And we nerds saw it, and loved it, and love it still. (I haven’t even \u003cem>mentioned\u003c/em> his Blazing Sword. It was a sword. It blazed. It was awesome.)\u003c/p>\n\u003cp>After those first 72 robot-lion episodes, the series ran for 52 more, which were stitched together from episodes of \u003cem>Armored Fleet Dairugger XV. \u003c/em>The lion-shaped robot spaceships were replaced with … air, land and sea vehicles.\u003c/p>\n\u003cp>Seriously.\u003c/p>\n\u003cp>\u003cem>Yeah, kids, we know you like chocolate cake. But have you ever \u003c/em>tried\u003cem> a dry fistful of carob?\u003c/em>\u003c/p>\n\u003cp>We do not speak of Vehicle Voltron.\u003c/p>\n\u003cfigure id=\"attachment_11722826\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg\" alt=\"Voltron in 'Voltron: Legendary Defender'\" width=\"640\" height=\"480\" class=\"size-large wp-image-11722826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Voltron in ‘Voltron: Legendary Defender’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Robot, Rebooted\u003c/strong>\u003c/p>\n\u003cp>Last weekend Netflix released 13 episodes of an all-new (ALL-LION!!) Voltron series, \u003cem>Voltron: Legendary Defender\u003c/em>. It’s not the first attempt to reboot the ’80s series (noble attempts were made in 1998 and 2011), and there have been there have been several comics and toys over the years.\u003c/p>\n\u003cp>But this new series is different. Here’s why.\u003c/p>\n\u003cp>\u003cem>1. The Writers Get It\u003c/em>\u003c/p>\n\u003cp>The new series’ showrunners, and its head writer, have worked on several animated series, most importantly two little shows called \u003cem>Avatar: The Last Airbender\u003c/em> and \u003cem>The Legend of Korra. \u003c/em>\u003c/p>\n\u003cp>Both of those shows combined strong characterization with clever, often funny dialogue. But they also built deeply thought, and deeply felt, worlds teeming with history and mythology.\u003c/p>\n\u003cp>That attention to both macro- and micro- detail is evident from the first frame of Voltron: Legendary Defender. This time around, character personalities are larger, more distinct, and — interestingly — tied directly to the action: the robot-shaped spaceships, we are informed, serve as reflections of their pilots. As small tweak, perhaps, but one that opens up all sorts of possibilities.\u003c/p>\n\u003cp>And if you think the all-male makeup of the five Voltron pilots seems like a hoary holdover from the 1980s, just know that showrunners think so too. I’ll leave it at that.\u003c/p>\n\u003cp>\u003cem>2. \u003c/em>\u003cem>The Voice Actors Get It\u003c/em>\u003c/p>\n\u003cp>If the cast featured only New Zealand actor Rhys Darby — Murray on \u003cem>Flight of the Conchords\u003c/em> — it’d be reason enough to watch. But he’s joined by Tyler Labine of \u003cem>Tucker and Dale vs. Evil\u003c/em>. And Jeremy Shada (Finn on \u003cem>Adventure Time\u003c/em>). And Steven Yeun, who plays Glenn on \u003cem>The Walking Dead\u003c/em>. They’re expressive, energetic, and dependably land the series’ many jokes.\u003c/p>\n\u003cp>\u003cem>3. There Are Characters Named “Pidge” And “Hunk”\u003c/em>\u003c/p>\n\u003cp>Granted, these character names, and personalities, are simply imported from the original series, so are not really new. Even so, this is a show in which the words “PIDGE!” and/or “HUNK!” could — O.K., \u003cem>will\u003c/em> — get shouted a lot.\u003c/p>\n\u003cp>\u003cem>4. It’s Not All Good News\u003c/em>\u003c/p>\n\u003cp>It is with a heavy heart that I report the following: in each episode of the new series, when it at last comes time to form Voltron, the writers have made a bold decision.\u003c/p>\n\u003cp>A bold, \u003cem>hugely\u003c/em> disappointing decision.\u003c/p>\n\u003cp>As before, the pilot of the lead lion-shaped spaceship intones a catchphrase.\u003c/p>\n\u003cp>But instead of reeling off the halting litany of mecha-body-parts that has imprinted itself upon the cerebral cortex of legions of Voltron fans, (\u003cem>FORM! ARMS! AND! TORSO!\u003c/em>) he instead shouts something far less cheesy, less rich, less flavorful.\u003c/p>\n\u003cp>He says, “Form Voltron.”\u003c/p>\n\u003cp>That’s it. That’s all we get. “Form Voltron,” he says. “Form Voltron,” like he’s ordering a sandwich.\u003c/p>\n\u003cp>Seeing it the first time, I felt the familiar nerd-rage begin to churn behind my sternum. “Form Voltron,” indeed.\u003c/p>\n\u003cp>But I’m one of the reasonable ones, after all. So I managed to talk myself down. I reminded myself that this new series only added to, and did not replace, the classic one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And when that didn’t work, I comforted myself by watching these dudes build a real-life replica of Voltron’s Blazing Sword. And I was content. \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=%27And+I%27ll+Form+...+The+Head%21%27%3A+%27Voltron%27+Reboot+Gets+%28Almost%29+Everything+Right&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1315,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 46
},
"modified": 1705033833,
"excerpt": "Netflix's new \u003cem>Voltron: Legendary Defender, \u003c/em>a\u003cem> \u003c/em>reboot of the beloved '80s anime series, features producers and writers from \u003cem>Avatar: The Last Airbender\u003c/em> and \u003cem>Legend of Korra. \u003c/em>It shows.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Netflix's new Voltron: Legendary Defender, a reboot of the beloved '80s anime series, features producers and writers from Avatar: The Last Airbender and Legend of Korra. It shows.",
"title": "\"And I'll Form ... The Head!\": 'Voltron' Reboot Gets (Almost) Everything Right | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "\"And I'll Form ... The Head!\": 'Voltron' Reboot Gets (Almost) Everything Right",
"datePublished": "2016-06-22T13:05:27-07:00",
"dateModified": "2024-01-11T20:30:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "and-ill-form-the-head-voltron-reboot-gets-almost-everything-right",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=482923625&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Glen Weldon",
"nprStoryDate": "Wed, 22 Jun 2016 09:35:00 -0400",
"nprLastModifiedDate": "Wed, 22 Jun 2016 09:56:28 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/monkeysee/2016/06/22/482923625/and-ill-form-the-head-voltron-reboot-gets-almost-everything-right?ft=nprml&f=482923625",
"nprImageAgency": "Netflix",
"nprStoryId": "482923625",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 22 Jun 2016 09:56:00 -0400",
"path": "/arts/11722824/and-ill-form-the-head-voltron-reboot-gets-almost-everything-right",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Nostalgia,” a wise man once wrote, “is the nutrient agar upon which nerd culture grows.”\u003c/p>\n\u003cp>… Reader, it was me. \u003ca href=\"http://books.simonandschuster.com/The-Caped-Crusade/Glen-Weldon/9781476756691\" target=\"_blank\" rel=\"noopener\">I wrote that\u003c/a>. And truthfully, looking at it now, it seems less “wise” than “kind of tortured” in that it leans too hard into the biological definition of “culture” for the sake of a feeble demi-pun, but never mind. The point is: nerds hold on to the things we loved when we were kids. Tightly.\u003c/p>\n\u003cp>That’s why nerd culture so often seems regressive, even reactionary, to normals: as a species, we tend to prize things as they \u003cem>once were\u003c/em> over things as they \u003cem>are\u003c/em>. It’s not our finest quality, and there are many among us — too many — who allow this preference to decay into a kind of rancorous resolve. These are the people who build hills upon which they’re fully prepared to die, or at least get \u003cem>really really\u003c/em> mad, out of things like the original \u003cem>Ghostbusters\u003c/em> movie.\u003c/p>\n\u003cp>Most of us, however, are comparatively clear-eyed about the stuff we loved as kids. We understand that our memories are colored by that love, and any new iteration of a beloved thing simply adds to, and does not replace, said thing.\u003c/p>\n\u003cp>We can recognize, for example, when the passage of time has imbued something we love with a certain cheesy quality. But to us, the cheese makes it all the better, richer, more flavorful.\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>Which brings me to \u003cem>Voltron\u003c/em>, an anime series syndicated in the U.S. from 1984 to 1987 that was the top-rated syndicated show for kids for two of those years. Oh my, but it was odd.\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/YwNHfyZZIuo'\n title='//www.youtube.com/embed/YwNHfyZZIuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For one thing, it was an anime series on U.S. television when such things were still relatively rare; \u003cem>Speed Racer\u003c/em>, \u003cem>Marine Boy\u003c/em> and \u003cem>Star Blazers\u003c/em> had prepared the way, but \u003cem>Voltron\u003c/em>‘s runaway success established a beachhead subsequently overrun by\u003cem> Dragonball Z\u003c/em> and, especially, inescapably, \u003cem>Pokemon\u003c/em>.\u003c/p>\n\u003cp>The \u003cem>Voltron\u003c/em> (technically \u003cem>Voltron: Defender of the Universe\u003c/em>) seen in the U.S. originated as two different wondrously-named Japanese cartoons, \u003cem>Beast King Go-Lion\u003c/em> and \u003cem>Armored Fleet Dairugger XV\u003c/em>. Executive producer Peter Keefe bought the rights to both series, cut the violence back, and constructed new plots, dialogue, character backstories, everything.\u003c/p>\n\u003cp>For 72 episodes — some of which Keefe created out of whole cloth, having run out of old \u003cem>Go-Lion\u003c/em> episodes — Voltron was a show about a giant robot.\u003c/p>\n\u003cp>That wasn’t why we loved it, though. Giant robots were nothing special. Giant robots were a dime a dozen.\u003c/p>\n\u003cp>But \u003cem>this\u003c/em> robot … was made of \u003cem>lions\u003c/em>.\u003c/p>\n\u003cp>Lion-shaped robot spaceships, that is. Five of them. With tails and fangs and ears and paws, the whole mecha-feline schmear, for no readily discernible reason except the only one that mattered: they looked cool.\u003c/p>\n\u003cp>And when danger threatened, the guy in the lead lion-shaped robot spaceship intoned a battle cry so gleefully cheesy it raised your risk of heart disease, thus:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Form! Feet! And! Legs!\u003c/em>\u003c/p>\n\u003cp>\u003cem>Form! Arms! And! Torso!\u003c/em>\u003c/p>\n\u003cp>\u003cem>And I’ll form … The HEAD!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>And that’s exactly what would proceed to happen: those lion-shaped robot spaceships retracted their legs and tails to form themselves into limbs that attached themselves to the lead lion-shaped spaceship, and Voltron the giant robot was born.\u003c/p>\n\u003cp>A giant robot, mind you, \u003cem>whose feet and hands were the heads of robo-lions\u003c/em>. Imagine a knight in armor with a Muppet on each hand, shod in boots that Gene Simmons would reject as “too much.” That was the look. And we nerds saw it, and loved it, and love it still. (I haven’t even \u003cem>mentioned\u003c/em> his Blazing Sword. It was a sword. It blazed. It was awesome.)\u003c/p>\n\u003cp>After those first 72 robot-lion episodes, the series ran for 52 more, which were stitched together from episodes of \u003cem>Armored Fleet Dairugger XV. \u003c/em>The lion-shaped robot spaceships were replaced with … air, land and sea vehicles.\u003c/p>\n\u003cp>Seriously.\u003c/p>\n\u003cp>\u003cem>Yeah, kids, we know you like chocolate cake. But have you ever \u003c/em>tried\u003cem> a dry fistful of carob?\u003c/em>\u003c/p>\n\u003cp>We do not speak of Vehicle Voltron.\u003c/p>\n\u003cfigure id=\"attachment_11722826\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg\" alt=\"Voltron in 'Voltron: Legendary Defender'\" width=\"640\" height=\"480\" class=\"size-large wp-image-11722826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Voltron in ‘Voltron: Legendary Defender’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Robot, Rebooted\u003c/strong>\u003c/p>\n\u003cp>Last weekend Netflix released 13 episodes of an all-new (ALL-LION!!) Voltron series, \u003cem>Voltron: Legendary Defender\u003c/em>. It’s not the first attempt to reboot the ’80s series (noble attempts were made in 1998 and 2011), and there have been there have been several comics and toys over the years.\u003c/p>\n\u003cp>But this new series is different. Here’s why.\u003c/p>\n\u003cp>\u003cem>1. The Writers Get It\u003c/em>\u003c/p>\n\u003cp>The new series’ showrunners, and its head writer, have worked on several animated series, most importantly two little shows called \u003cem>Avatar: The Last Airbender\u003c/em> and \u003cem>The Legend of Korra. \u003c/em>\u003c/p>\n\u003cp>Both of those shows combined strong characterization with clever, often funny dialogue. But they also built deeply thought, and deeply felt, worlds teeming with history and mythology.\u003c/p>\n\u003cp>That attention to both macro- and micro- detail is evident from the first frame of Voltron: Legendary Defender. This time around, character personalities are larger, more distinct, and — interestingly — tied directly to the action: the robot-shaped spaceships, we are informed, serve as reflections of their pilots. As small tweak, perhaps, but one that opens up all sorts of possibilities.\u003c/p>\n\u003cp>And if you think the all-male makeup of the five Voltron pilots seems like a hoary holdover from the 1980s, just know that showrunners think so too. I’ll leave it at that.\u003c/p>\n\u003cp>\u003cem>2. \u003c/em>\u003cem>The Voice Actors Get It\u003c/em>\u003c/p>\n\u003cp>If the cast featured only New Zealand actor Rhys Darby — Murray on \u003cem>Flight of the Conchords\u003c/em> — it’d be reason enough to watch. But he’s joined by Tyler Labine of \u003cem>Tucker and Dale vs. Evil\u003c/em>. And Jeremy Shada (Finn on \u003cem>Adventure Time\u003c/em>). And Steven Yeun, who plays Glenn on \u003cem>The Walking Dead\u003c/em>. They’re expressive, energetic, and dependably land the series’ many jokes.\u003c/p>\n\u003cp>\u003cem>3. There Are Characters Named “Pidge” And “Hunk”\u003c/em>\u003c/p>\n\u003cp>Granted, these character names, and personalities, are simply imported from the original series, so are not really new. Even so, this is a show in which the words “PIDGE!” and/or “HUNK!” could — O.K., \u003cem>will\u003c/em> — get shouted a lot.\u003c/p>\n\u003cp>\u003cem>4. It’s Not All Good News\u003c/em>\u003c/p>\n\u003cp>It is with a heavy heart that I report the following: in each episode of the new series, when it at last comes time to form Voltron, the writers have made a bold decision.\u003c/p>\n\u003cp>A bold, \u003cem>hugely\u003c/em> disappointing decision.\u003c/p>\n\u003cp>As before, the pilot of the lead lion-shaped spaceship intones a catchphrase.\u003c/p>\n\u003cp>But instead of reeling off the halting litany of mecha-body-parts that has imprinted itself upon the cerebral cortex of legions of Voltron fans, (\u003cem>FORM! ARMS! AND! TORSO!\u003c/em>) he instead shouts something far less cheesy, less rich, less flavorful.\u003c/p>\n\u003cp>He says, “Form Voltron.”\u003c/p>\n\u003cp>That’s it. That’s all we get. “Form Voltron,” he says. “Form Voltron,” like he’s ordering a sandwich.\u003c/p>\n\u003cp>Seeing it the first time, I felt the familiar nerd-rage begin to churn behind my sternum. “Form Voltron,” indeed.\u003c/p>\n\u003cp>But I’m one of the reasonable ones, after all. So I managed to talk myself down. I reminded myself that this new series only added to, and did not replace, the classic one.\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>And when that didn’t work, I comforted myself by watching these dudes build a real-life replica of Voltron’s Blazing Sword. And I was content. \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=%27And+I%27ll+Form+...+The+Head%21%27%3A+%27Voltron%27+Reboot+Gets+%28Almost%29+Everything+Right&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11722824/and-ill-form-the-head-voltron-reboot-gets-almost-everything-right",
"authors": [
"byline_arts_11722824"
],
"categories": [
"arts_990"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11722825",
"label": "arts_137"
},
"arts_11700683": {
"type": "posts",
"id": "arts_11700683",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11700683",
"score": null,
"sort": [
1466191825000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1466191825,
"format": "standard",
"title": "An American Opera Impresario Takes His Final Bow",
"headTitle": "An American Opera Impresario Takes His Final Bow | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We asked Gockley to reminisce a little and tell a few stories about his early years and the great music he nurtured in Houston, beginning with his very first production of \u003ca href=\"http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2810&ttype=BIOGRAPHY\" target=\"_blank\" rel=\"noopener\">Carlisle Floyd\u003c/a>‘s \u003cem>Susannah \u003c/em>in 1972. That opera convinced him “there was an opportunity to have an American opera repertoire.”\u003c/p>\n\u003cp>\u003cem>(Editor’s Note: There is one mildly objectional word used twice during the audio feature.) \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" link=\"none\" ids=\"11700679,11700688,11700687,11700686,11700685,11700684,11700680,11700681,11700693,11700692\"]\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=An+American+Opera+Impresario+Takes+His+Final+Bow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 345,
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705033877,
"excerpt": "In Houston and San Francisco, David Gockley commissioned operas destined for stages worldwide. As he retires, he reflects on reviving Scott Joplin and premiering \u003cem>Nixon in China\u003c/em>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In Houston and San Francisco, David Gockley commissioned operas destined for stages worldwide. As he retires, he reflects on reviving Scott Joplin and premiering Nixon in China.",
"title": "An American Opera Impresario Takes His Final Bow | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An American Opera Impresario Takes His Final Bow",
"datePublished": "2016-06-17T12:30:25-07:00",
"dateModified": "2024-01-11T20:31:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "an-american-opera-impresario-takes-his-final-bow",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=481249440&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Thu, 16 Jun 2016 08:26:00 -0400",
"nprLastModifiedDate": "Thu, 16 Jun 2016 09:29:07 -0400",
"nprHtmlLink": "http://www.npr.org/sections/deceptivecadence/2016/06/16/481249440/an-american-opera-impresario-takes-his-final-bow?ft=nprml&f=481249440",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/blog/2016/06/20160615_blog_gockley.mp3?orgId=1&topicId=1039&aggIds=100920965&d=822&story=481249440&ft=nprml&f=481249440",
"nprImageAgency": "Houston Grand Opera",
"nprAudioM3u": "http://api.npr.org/m3u/1482206919-979e44.m3u?orgId=1&topicId=1039&aggIds=100920965&d=822&story=481249440&ft=nprml&f=481249440",
"nprStoryId": "481249440",
"nprByline": "Tom Huizenga",
"sticky": false,
"nprImageCredit": "Jim Caldwell",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 16 Jun 2016 09:29:00 -0400",
"path": "/arts/11700683/an-american-opera-impresario-takes-his-final-bow",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/blog/2016/06/20160615_blog_gockley.mp3?orgId=1&topicId=1039&aggIds=100920965&d=822&story=481249440&ft=nprml&f=481249440",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\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>We asked Gockley to reminisce a little and tell a few stories about his early years and the great music he nurtured in Houston, beginning with his very first production of \u003ca href=\"http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2810&ttype=BIOGRAPHY\" target=\"_blank\" rel=\"noopener\">Carlisle Floyd\u003c/a>‘s \u003cem>Susannah \u003c/em>in 1972. That opera convinced him “there was an opportunity to have an American opera repertoire.”\u003c/p>\n\u003cp>\u003cem>(Editor’s Note: There is one mildly objectional word used twice during the audio feature.) \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "slideshow",
"size": "full",
"link": "none",
"ids": "11700679,11700688,11700687,11700686,11700685,11700684,11700680,11700681,11700693,11700692",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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=An+American+Opera+Impresario+Takes+His+Final+Bow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11700683/an-american-opera-impresario-takes-his-final-bow",
"authors": [
"byline_arts_11700683"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11700694",
"label": "arts_137"
},
"arts_11696268": {
"type": "posts",
"id": "arts_11696268",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11696268",
"score": null,
"sort": [
1466172032000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1466172032,
"format": "standard",
"title": "Boxing, Dancing And Growing Up In 'The Fits'",
"headTitle": "Boxing, Dancing And Growing Up In ‘The Fits’ | KQED",
"content": "\u003cp>\u003cem>The Fits\u003c/em> is a movie that, if examined scene by scene and frame by frame, confirms its own uniqueness the way a conservationist might identify a member of an endangered species. The narrative directing debut of Anna Rose Holmer, the film mixes an all-amateur cast; a largely dialogue-free script; a whole lot of gliding and stationary long takes by cinematographer Paul Yee; and a scant 72-minute runtime to create the sort of mature and precise cinematic vision that is swiftly disappearing from the American landscape.\u003c/p>\n\u003cp>Set in and around a community center in Cincinnati’s majority-black West End, the film swiftly introduces us to Toni (Royalty Hightower), a shy, tightly braided preteen tomboy whose steely gaze tells us far more than the few words she utters. Toni walks to the rec center every day with her older brother Jermaine (Da’Sean Minor) to box with the boys, and, presumably, so the siblings can stay out of trouble after school with no parents around.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/134321235?title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But Toni shoots longing glances across the building to where the dance team (all older girls, all brimming with confidence and sexuality) practices their step routines. The team is played by the Q-Kidz, a real Cincinnati step team that also choreographed their own movements for the film — their founder, Marquicia Jones-Woods, is an Associate Producer. In a long tracking shot, the first of many instances where filmmaking technique doubles as character development, Toni lugs her heavy boxing equipment through a hallway while the dancers joyously sprint around her, hoisting their latest state championship trophy.\u003c/p>\n\u003cp>Soon there is a journey across the gym, as Toni ditches the boxing gloves for stretch pants and joins the new class of rookie dancers called “crabs.” (The film embraces rhythm and body movement, and mines humor from the ways the crabs are frequently out-of-sync with routine, each recruit performing her own idea of what dancing looks like.) Not long after, dread sets in: One by one, each of the older girls experiences seizure-like twitching spells, where their eyes fixate on some far-away place while their bodies writhe with violence. Later, when she emerges from her stupor, one girl says the trip “was like I was watching it from above.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s easy to guess what “the fits” are, or at least what they’re meant to symbolize when they’re only happening to teenage girls. But the film’s tone is careful enough that it never feels like a one-trick pony. “Unsafe water” is suspected at one point, a prescient analogy for Flint (the bits of the outside we see, with weeds poking through the concrete, share the same imagery). And Hightower’s silent-film expressiveness makes us feel the fear Toni has for the unknown. Her encroaching maturity is the crux the film hangs on, so small moments become prized gems, like a sequence where she and a crab friend (Alexis Neblett, very funny) sneak into storage to try on the new uniforms, blue-gold and sequined, and pretend they’re older until something childlike happens.\u003c/p>\n\u003cp>\u003cem>The Fits\u003c/em> is the latest in the recent independent film trend of a young, relatively untested white director crafting a narrative around a much younger, completely untested black lead. The club includes two other excellent features: fellow Sundance alum \u003cem>Morris From America \u003c/em>(coming in August) and the Oscar-nominated fantasy opus \u003ca href=\"http://www.npr.org/2012/06/26/155704471/post-storm-a-fairy-tale-and-reality-check-in-one\" target=\"_blank\" rel=\"noopener\">\u003cem>Beasts of the Southern Wild\u003c/em>\u003c/a>. On the one hand, it’s a sign that today’s filmmakers are taking greater risks to tell stories across race and class boundaries; on the other, it carries a whiff of what could be called cinema gentrification, where the film itself exists outside the community in which it’s set. It’s fraught territory, and opinions run high: \u003cem>Slate\u003c/em>‘s “\u003ca href=\"http://www.slate.com/articles/arts/cover_story/2016/05/the_50_greatest_films_by_black_directors.html\" target=\"_blank\" rel=\"noopener\">black film canon\u003c/a>,” published this week, doesn’t include movies, no matter their subjects, made by white directors. The website’s Aisha Harris and Dan Kois wrote that they wanted to emphasize “the power of black people telling their stories.”\u003c/p>\n\u003cp>So Holmer’s movie, the most exciting American indie in years, won’t be in this canon. But part of what makes \u003cem>The Fits\u003c/em> so exciting is how it defies the very idea of a canon: it’s made by women, it’s telling a new kind of story about teenage girls, it’s set below the poverty line but is not about poverty, and its genre is somewhere between social realism and comic-drama-horror. Like Toni, who floats on some unseen threshold between assumptions about ages and genders, \u003cem>The Fits \u003c/em>invents its own kind of belonging.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Fits\u003c/strong> opens at \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema/film-info/the-fits\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> in San Francisco and \u003ca href=\"http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-43-10-6-3-2016-9291\" target=\"_blank\" rel=\"noopener\">Camera 3\u003c/a> in San Jose beginning Friday, June 17.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 829,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705033883,
"excerpt": "Anna Rose Holmer's story of girls seized by seemingly unknown forces, and a new member of their group who must find her place among them.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Anna Rose Holmer's story of girls seized by seemingly unknown forces, and a new member of their group who must find her place among them.",
"title": "Boxing, Dancing And Growing Up In 'The Fits' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Boxing, Dancing And Growing Up In 'The Fits'",
"datePublished": "2016-06-17T07:00:32-07:00",
"dateModified": "2024-01-11T20:31:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "boxing-dancing-and-growing-up-in-the-fits",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=480448270&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Lapin",
"nprStoryDate": "Thu, 02 Jun 2016 17:00:00 -0400",
"nprLastModifiedDate": "Thu, 02 Jun 2016 18:39:08 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/06/02/480448270/boxing-dancing-and-growing-up-in-the-fits?ft=nprml&f=480448270",
"nprImageAgency": "Oscilloscope Laboratories",
"nprStoryId": "480448270",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 02 Jun 2016 18:39:00 -0400",
"path": "/arts/11696268/boxing-dancing-and-growing-up-in-the-fits",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Fits\u003c/em> is a movie that, if examined scene by scene and frame by frame, confirms its own uniqueness the way a conservationist might identify a member of an endangered species. The narrative directing debut of Anna Rose Holmer, the film mixes an all-amateur cast; a largely dialogue-free script; a whole lot of gliding and stationary long takes by cinematographer Paul Yee; and a scant 72-minute runtime to create the sort of mature and precise cinematic vision that is swiftly disappearing from the American landscape.\u003c/p>\n\u003cp>Set in and around a community center in Cincinnati’s majority-black West End, the film swiftly introduces us to Toni (Royalty Hightower), a shy, tightly braided preteen tomboy whose steely gaze tells us far more than the few words she utters. Toni walks to the rec center every day with her older brother Jermaine (Da’Sean Minor) to box with the boys, and, presumably, so the siblings can stay out of trouble after school with no parents around.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/134321235?title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But Toni shoots longing glances across the building to where the dance team (all older girls, all brimming with confidence and sexuality) practices their step routines. The team is played by the Q-Kidz, a real Cincinnati step team that also choreographed their own movements for the film — their founder, Marquicia Jones-Woods, is an Associate Producer. In a long tracking shot, the first of many instances where filmmaking technique doubles as character development, Toni lugs her heavy boxing equipment through a hallway while the dancers joyously sprint around her, hoisting their latest state championship trophy.\u003c/p>\n\u003cp>Soon there is a journey across the gym, as Toni ditches the boxing gloves for stretch pants and joins the new class of rookie dancers called “crabs.” (The film embraces rhythm and body movement, and mines humor from the ways the crabs are frequently out-of-sync with routine, each recruit performing her own idea of what dancing looks like.) Not long after, dread sets in: One by one, each of the older girls experiences seizure-like twitching spells, where their eyes fixate on some far-away place while their bodies writhe with violence. Later, when she emerges from her stupor, one girl says the trip “was like I was watching it from above.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s easy to guess what “the fits” are, or at least what they’re meant to symbolize when they’re only happening to teenage girls. But the film’s tone is careful enough that it never feels like a one-trick pony. “Unsafe water” is suspected at one point, a prescient analogy for Flint (the bits of the outside we see, with weeds poking through the concrete, share the same imagery). And Hightower’s silent-film expressiveness makes us feel the fear Toni has for the unknown. Her encroaching maturity is the crux the film hangs on, so small moments become prized gems, like a sequence where she and a crab friend (Alexis Neblett, very funny) sneak into storage to try on the new uniforms, blue-gold and sequined, and pretend they’re older until something childlike happens.\u003c/p>\n\u003cp>\u003cem>The Fits\u003c/em> is the latest in the recent independent film trend of a young, relatively untested white director crafting a narrative around a much younger, completely untested black lead. The club includes two other excellent features: fellow Sundance alum \u003cem>Morris From America \u003c/em>(coming in August) and the Oscar-nominated fantasy opus \u003ca href=\"http://www.npr.org/2012/06/26/155704471/post-storm-a-fairy-tale-and-reality-check-in-one\" target=\"_blank\" rel=\"noopener\">\u003cem>Beasts of the Southern Wild\u003c/em>\u003c/a>. On the one hand, it’s a sign that today’s filmmakers are taking greater risks to tell stories across race and class boundaries; on the other, it carries a whiff of what could be called cinema gentrification, where the film itself exists outside the community in which it’s set. It’s fraught territory, and opinions run high: \u003cem>Slate\u003c/em>‘s “\u003ca href=\"http://www.slate.com/articles/arts/cover_story/2016/05/the_50_greatest_films_by_black_directors.html\" target=\"_blank\" rel=\"noopener\">black film canon\u003c/a>,” published this week, doesn’t include movies, no matter their subjects, made by white directors. The website’s Aisha Harris and Dan Kois wrote that they wanted to emphasize “the power of black people telling their stories.”\u003c/p>\n\u003cp>So Holmer’s movie, the most exciting American indie in years, won’t be in this canon. But part of what makes \u003cem>The Fits\u003c/em> so exciting is how it defies the very idea of a canon: it’s made by women, it’s telling a new kind of story about teenage girls, it’s set below the poverty line but is not about poverty, and its genre is somewhere between social realism and comic-drama-horror. Like Toni, who floats on some unseen threshold between assumptions about ages and genders, \u003cem>The Fits \u003c/em>invents its own kind of belonging.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Fits\u003c/strong> opens at \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema/film-info/the-fits\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> in San Francisco and \u003ca href=\"http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-43-10-6-3-2016-9291\" target=\"_blank\" rel=\"noopener\">Camera 3\u003c/a> in San Jose beginning Friday, June 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11696268/boxing-dancing-and-growing-up-in-the-fits",
"authors": [
"byline_arts_11696268"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1119",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11696573",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2112,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_11788380",
"arts_11785931",
"arts_11781548",
"arts_11751052",
"arts_11758324",
"arts_11750372",
"arts_11735950",
"arts_11735944",
"arts_11735939",
"arts_11722824",
"arts_11700683",
"arts_11696268"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_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_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_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_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_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_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_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
}
},
"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
}
}
