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_11132955": {
"type": "attachments",
"id": "arts_11132955",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11132955",
"found": true
},
"parent": 11132954,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-e1449209341852.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/cr_d01_001951446574522_wide-744b31997c353995d7ca5d730b36d00f7f4facce-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449208500,
"modified": 1449209357,
"caption": "Teyonah Parris as Lysistrata, a Chicago gang leader's girlfriend who rallies women to swear off sex with their men until they end their violence.",
"description": null,
"title": null,
"credit": "Photo: Parrish Lewis/Courtesy of Roadside Attractions",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11123076": {
"type": "attachments",
"id": "arts_11123076",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11123076",
"found": true
},
"parent": 11123074,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-e1448921706209.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_01100802285_wide-ab45cff477e21954e68b7e5343c2e0335bd09823-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1448919715,
"modified": 1448921674,
"caption": "The 1965 special 'A Charlie Brown Christmas' is celebrating 50 years of somber music and sad little trees.",
"description": "The 1965 special \u003cem>A Charlie Brown Christmas \u003c/em>is celebrating 50 years of somber music and sad little trees.",
"title": "The 1965 special A Charlie Brown Christmas is celebrating 50 years of somber music and sad little trees.",
"credit": "Charles M. Schulz/AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11112030": {
"type": "attachments",
"id": "arts_11112030",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11112030",
"found": true
},
"parent": 11111817,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/CreedCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1448569348,
"modified": 1456469501,
"caption": "Sylvester Stallone as Rocky Balboa and Michael B. Jordan as Adonis Johnson in a scene from 'Creed.'",
"description": "Sylvester Stallone as Rocky Balboa and Michael B. Jordan as Adonis Johnson in a scene from 'Creed.'",
"title": "CreedCover",
"credit": "Photo: Barry Wetcher/Courtesy of Warner Bros. Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11106951": {
"type": "attachments",
"id": "arts_11106951",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11106951",
"found": true
},
"parent": 0,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-400x225.png",
"width": 400,
"mimeType": "image/png",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson.png",
"width": 809,
"height": 455
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Cynthia-Robinson-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1448402406,
"modified": 1448402647,
"caption": "Cynthia Robinson",
"description": "Cynthia Robinson",
"title": "Cynthia Robinson",
"credit": "Courtesy: Facebook",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11102852": {
"type": "attachments",
"id": "arts_11102852",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11102852",
"found": true
},
"parent": 11102747,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-400x225.png",
"width": 400,
"mimeType": "image/png",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark.png",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Annie-Clark-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1448263370,
"modified": 1448263392,
"caption": "When Annie Clark was assaulted in 2007 she said the response from her university was victim blaming: \"I talked to one campus employee and she gave me this extended metaphor about how rape was like a football game and I was the quarterback in charge and what would I have done differently in that situation,\" she says.",
"description": "When Annie Clark was assaulted in 2007 she said the response from her university was victim blaming: \"I talked to one campus employee and she gave me this extended metaphor about how rape was like a football game and I was the quarterback in charge and what would I have done differently in that situation,\" she says.",
"title": "Annie Clark",
"credit": "Courtesy: Radius",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11092190": {
"type": "attachments",
"id": "arts_11092190",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11092190",
"found": true
},
"parent": 11092188,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SpotlightCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447889917,
"modified": 1447889951,
"caption": "Michael Keaton, Liev Schreiber, Mark Ruffalo, Rachel McAdams, John Slattery and Brian D'Arcy James are members of the Boston Globe investigation team that uncovers a sex-abuse scandal involving the Catholic Church in the film, 'Spotlight.'",
"description": null,
"title": "SpotlightCover",
"credit": "Photo: Kerry Hayes/Open Road Films",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11090789": {
"type": "attachments",
"id": "arts_11090789",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11090789",
"found": true
},
"parent": 11090788,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-997x576.png",
"width": 997,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-400x249.png",
"width": 400,
"mimeType": "image/png",
"height": 249
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-960x597.png",
"width": 960,
"mimeType": "image/png",
"height": 597
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216.png",
"width": 997,
"height": 620
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-800x497.png",
"width": 800,
"mimeType": "image/png",
"height": 497
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/screen-shot-2015-11-17-at-6.06.06-pm-c2a35513fbb179c08568a5371c24908ad1d618e5-e1447839142216-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1447838619,
"modified": 1447838619,
"caption": null,
"description": null,
"title": "TK",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11083094": {
"type": "attachments",
"id": "arts_11083094",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11083094",
"found": true
},
"parent": 11083088,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca.jpg",
"width": 3632,
"height": 2724
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/gettyimages-4971084901-7a0623cf0a0bd96c1e67b4a27afc8f20fdf415ca-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447570651,
"modified": 1447570651,
"caption": null,
"description": "A man wears a shirt with the \"Peace for Paris\" symbol, near the French embassy in Berlin on Saturday, a day after the deadly attacks in Paris.",
"title": "A man wears a shirt with the \"Peace for Paris\" symbol, near the French embassy in Berlin on Saturday, a day after the deadly attacks in Paris.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11071731": {
"type": "attachments",
"id": "arts_11071731",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11071731",
"found": true
},
"parent": 11071730,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76.jpg",
"width": 920,
"height": 517
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/pumaman-mst3k_wide-22b0fda5ac99414a4e593b64ca68340bd12b6a76-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447194859,
"modified": 1447194859,
"caption": null,
"description": "The team behind \u003cem>Mystery Science Theater 3000\u003c/em> could release new episodes in the summer of 2016, after creator Joel Hodgson launched a Kickstarter campaign.",
"title": "The team behind Mystery Science Theater 3000 could release new episodes in the summer of 2016, after creator Joel Hodgson launched a Kickstarter campaign.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11066083": {
"type": "attachments",
"id": "arts_11066083",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11066083",
"found": true
},
"parent": 11066082,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243.jpg",
"width": 2559,
"height": 1439
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/ap_426566488621_custom-cd3e702e570a95a942b34c36b7dd9f54bab10622-e1447063556243-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447004158,
"modified": 1447063595,
"caption": "Demonstrators march to protest Donald Trump's views on Latinos hours before he hosts \"Saturday Night Live,\" on Saturday in New York.",
"description": "Demonstrators march to protest Donald Trump's views on Latinos hours before he hosts \"Saturday Night Live,\" on Saturday in New York",
"title": "Demonstrators march to protest Donald Trump's views on Latinos hours before he hosts \"Saturday Night Live,\" on Saturday in New York.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11060103": {
"type": "attachments",
"id": "arts_11060103",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11060103",
"found": true
},
"parent": 11060102,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-e1446774532392.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1446774413,
"modified": 1446775263,
"caption": "James Bond (Daniel Craig) is back in 'Spectre.' It's everything Bond fans could want, and then some.",
"description": null,
"title": "b24_06195_r_rgb-small_wide-800b3fc09e336d0ae53dfee92c9c7b156d04afc01",
"credit": "Photo: Jonathan Olley/Courtesy of Metro-Goldwyn-Mayer Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11038642": {
"type": "attachments",
"id": "arts_11038642",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11038642",
"found": true
},
"parent": 11038641,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b.jpg",
"width": 1917,
"height": 1078
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445964848,
"modified": 1445981643,
"caption": "Director Jafar Panahi drives a yellow taxi cab through Tehran and interviews the diverse passengers he picks up in a single day.",
"description": null,
"title": "995_wide-8914b14275b4ff471908e2e503e7a01db58fae7b",
"credit": "Courtesy: Kino Lorber",
"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_11132954": {
"type": "authors",
"id": "byline_arts_11132954",
"meta": {
"override": true
},
"slug": "byline_arts_11132954",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_11123074": {
"type": "authors",
"id": "byline_arts_11123074",
"meta": {
"override": true
},
"slug": "byline_arts_11123074",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_11111817": {
"type": "authors",
"id": "byline_arts_11111817",
"meta": {
"override": true
},
"slug": "byline_arts_11111817",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_11107065": {
"type": "authors",
"id": "byline_arts_11107065",
"meta": {
"override": true
},
"slug": "byline_arts_11107065",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_11102747": {
"type": "authors",
"id": "byline_arts_11102747",
"meta": {
"override": true
},
"slug": "byline_arts_11102747",
"name": "Jim Zarroli",
"isLoading": false
},
"byline_arts_11092188": {
"type": "authors",
"id": "byline_arts_11092188",
"meta": {
"override": true
},
"slug": "byline_arts_11092188",
"name": "David Edelstein",
"isLoading": false
},
"byline_arts_11090788": {
"type": "authors",
"id": "byline_arts_11090788",
"meta": {
"override": true
},
"slug": "byline_arts_11090788",
"name": "Andrew Limbong",
"isLoading": false
},
"byline_arts_11083088": {
"type": "authors",
"id": "byline_arts_11083088",
"meta": {
"override": true
},
"slug": "byline_arts_11083088",
"name": "NPR Staff",
"isLoading": false
},
"byline_arts_11071730": {
"type": "authors",
"id": "byline_arts_11071730",
"meta": {
"override": true
},
"slug": "byline_arts_11071730",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_11066082": {
"type": "authors",
"id": "byline_arts_11066082",
"meta": {
"override": true
},
"slug": "byline_arts_11066082",
"name": "Eyder Peralta",
"isLoading": false
},
"byline_arts_11060102": {
"type": "authors",
"id": "byline_arts_11060102",
"meta": {
"override": true
},
"slug": "byline_arts_11060102",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11038641": {
"type": "authors",
"id": "byline_arts_11038641",
"meta": {
"override": true
},
"slug": "byline_arts_11038641",
"name": "Mark Jenkins",
"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": 186
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 186
}
},
{
"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_11132954": {
"type": "posts",
"id": "arts_11132954",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11132954",
"score": null,
"sort": [
1449244806000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1449244806,
"format": "standard",
"title": "Spike Lee Declares An Emergency In 'Chi-Raq'",
"headTitle": "Spike Lee Declares An Emergency In ‘Chi-Raq’ | KQED",
"content": "\u003cp>Answering one kind of madness with another, Spike Lee’s \u003cem>Chi-Raq\u003c/em> approaches the plague of gun violence in Chicago with a staggering disregard for propriety. Just the title alone — a reference to a fatality rate that’s exceeded that of American soldiers fighting in Iraq and Afghanistan over the same period — was enough to \u003ca href=\"http://www.huffingtonpost.com/2015/04/17/spike-lee-chiraq-backlash-mayor-rahm-emanuel_n_7089574.html\" target=\"_blank\" rel=\"noopener\">raise the ire\u003c/a> of the city’s image-conscious elite, but that’s merely a throat-clearing for the operatic fantasia to come. With Aristophanes’ \u003cem>Lysistrata\u003c/em> serving as an audacious starting point, Lee’s musical/satire/feature-length editorial lurches from genre to genre and tone to tone with as much freewheeling spontaneity as possible for a film where the dialogue is almost entirely in verse. It’s a teeming repository of idea — by turns somber and profane, whimsical and hectoring, inspired and inexplicable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rGTuuj-aTJs\u003c/p>\n\u003cp>This is how Spike Lee starts a conversation. 26 years later, he’s still Mookie, tossing the garbage can through the Sal’s Famous window in \u003cem>Do The Right Thing\u003c/em>, fearlessly provoking a response. The \u003cem>click-clack\u003c/em> of reaction pieces can be heard over virtually every scene in \u003cem>Chi-Raq\u003c/em> — and from all over the political spectrum, too — and Lee hasn’t considered his arguments rigorously enough for the film to survive them all. But he wants the audience to think about the cycle of violence on Chicago’s South Side and the array of contributing factors that perpetuate it. At the same time, he’s made a thoroughly unruly work of art that sets the realities of the streets against the artifice of Greek theater and a cartoon gangland that recalls \u003cem>The Warriors\u003c/em>.\u003c/p>\n\u003cp>Reaching back to Lee’s three earliest films, \u003cem>Chi-Raq\u003c/em> could be described as a fusion of the dodgy sexual politics of \u003cem>She’s Gotta Have It\u003c/em>, the music and intra-racial disputes of \u003cem>School Daze\u003c/em>, and all-points sermonizing of \u003cem>Do The Right Thing\u003c/em>. Co-scripting with Kevin Willmott — whose brilliant mockumentary \u003cem>C.S.A: The Confederate States of America\u003c/em> imagines what might have happened if the South won the Civil War — Lee structures the film around Aristophanes’ outrageous premise of sex as a leverage for peace. The electric Teyonah Parris, previously seen in \u003cem>Dear White People\u003c/em>, stars as Lysistrata, a beautiful woman who takes decisive action after witnessing a pair of shootings.\u003c/p>\n\u003cp>Lysistrata’s boyfriend, Demetrius Dupree (Nick Cannon), who raps under the name “Chi-Raq,” heads up a purple-clad gang called the Spartans, and he looks for revenge after Cyclops (Wesley Snipes) and the rival Trojans, wearing orange, open fire during one of his club shows. When a stray Spartan bullet fells an 11-year-old girl and Lysistrata sees the anguish of the child’s mother (Jennifer Hudson, whose own personal tragedies are brought to the surface), she persuades the wives and girlfriends of gang members, as well as other women in the community, to withhold sex until the men come to their senses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Samuel L. Jackson turns up as Dolmedes, the one-man Greek chorus who introduces the verse and ties the disparate story threads together, and John Cusack and Angela Bassett both do vital work as an activist priest and an intellectual, respectively, who lend their voices to the cause. Among the root causes batted around are the macho intransigence of gang leaders, faulty and corrupt institutions, mass incarceration, high unemployment, and poverty, and Lee tosses in up-to-the-minute talk about Sandra Bland and the church shooting in Charleston, South Carolina. “THIS IS AN EMERGENCY” scream the opening titles in big bold letters, and \u003cem>Chi-Raq\u003c/em> seeks to stay right in the moment.\u003c/p>\n\u003cp>Lee’s compulsion to jam every idea he has into the frame gives \u003cem>Chi-Raq\u003c/em> an instability that often sacrifices coherence for vitality. Though \u003cem>Lysistrata\u003c/em> is a satire, Lee’s film uses it mainly as a conceptual hook, so elements that are completely absurd and outrageous, like Lysistrata’s bizarre encounter with a neo-Confederate officer, are juxtaposed with scenes where Cusack and Bassett sound off earnestly about the issues of the day. They may share the same subject, but they don’t share the movie that comfortably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then again, a little misbehavior is the point. The fantasy and realism of \u003cem>Chi-Raq\u003c/em> may go together like plaids and stripes, but Lee isn’t one to let perfect be the enemy of good. If nothing else, the film asserts the value of trying something and failing rather than retreating to safe spaces. It turns candor into the highest possible virtue.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 798,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705045783,
"excerpt": "Lee adapts Aristophanes' 'Lysistrata' into the story of a woman who withholds sex as leverage to stop violence.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lee adapts Aristophanes' 'Lysistrata' into the story of a woman who withholds sex as leverage to stop violence.",
"title": "Spike Lee Declares An Emergency In 'Chi-Raq' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Spike Lee Declares An Emergency In 'Chi-Raq'",
"datePublished": "2015-12-04T08:00:06-08:00",
"dateModified": "2024-01-11T23:49:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "spike-lee-declares-an-emergency-in-chi-raq",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=458188846&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 03 Dec 2015 17:04:05 -0500",
"nprLastModifiedDate": "Thu, 03 Dec 2015 17:04:05 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/12/03/458188846/spike-lee-declares-an-emergency-in-chi-raq?ft=nprml&f=458188846",
"nprImageAgency": "Courtesy of Roadside Attractions ",
"nprImageCredit": "Parrish Lewis",
"nprStoryId": "458188846",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 03 Dec 2015 17:04:00 -0500",
"path": "/arts/11132954/spike-lee-declares-an-emergency-in-chi-raq",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Answering one kind of madness with another, Spike Lee’s \u003cem>Chi-Raq\u003c/em> approaches the plague of gun violence in Chicago with a staggering disregard for propriety. Just the title alone — a reference to a fatality rate that’s exceeded that of American soldiers fighting in Iraq and Afghanistan over the same period — was enough to \u003ca href=\"http://www.huffingtonpost.com/2015/04/17/spike-lee-chiraq-backlash-mayor-rahm-emanuel_n_7089574.html\" target=\"_blank\" rel=\"noopener\">raise the ire\u003c/a> of the city’s image-conscious elite, but that’s merely a throat-clearing for the operatic fantasia to come. With Aristophanes’ \u003cem>Lysistrata\u003c/em> serving as an audacious starting point, Lee’s musical/satire/feature-length editorial lurches from genre to genre and tone to tone with as much freewheeling spontaneity as possible for a film where the dialogue is almost entirely in verse. It’s a teeming repository of idea — by turns somber and profane, whimsical and hectoring, inspired and inexplicable.\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/rGTuuj-aTJs'\n title='//www.youtube.com/embed/rGTuuj-aTJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is how Spike Lee starts a conversation. 26 years later, he’s still Mookie, tossing the garbage can through the Sal’s Famous window in \u003cem>Do The Right Thing\u003c/em>, fearlessly provoking a response. The \u003cem>click-clack\u003c/em> of reaction pieces can be heard over virtually every scene in \u003cem>Chi-Raq\u003c/em> — and from all over the political spectrum, too — and Lee hasn’t considered his arguments rigorously enough for the film to survive them all. But he wants the audience to think about the cycle of violence on Chicago’s South Side and the array of contributing factors that perpetuate it. At the same time, he’s made a thoroughly unruly work of art that sets the realities of the streets against the artifice of Greek theater and a cartoon gangland that recalls \u003cem>The Warriors\u003c/em>.\u003c/p>\n\u003cp>Reaching back to Lee’s three earliest films, \u003cem>Chi-Raq\u003c/em> could be described as a fusion of the dodgy sexual politics of \u003cem>She’s Gotta Have It\u003c/em>, the music and intra-racial disputes of \u003cem>School Daze\u003c/em>, and all-points sermonizing of \u003cem>Do The Right Thing\u003c/em>. Co-scripting with Kevin Willmott — whose brilliant mockumentary \u003cem>C.S.A: The Confederate States of America\u003c/em> imagines what might have happened if the South won the Civil War — Lee structures the film around Aristophanes’ outrageous premise of sex as a leverage for peace. The electric Teyonah Parris, previously seen in \u003cem>Dear White People\u003c/em>, stars as Lysistrata, a beautiful woman who takes decisive action after witnessing a pair of shootings.\u003c/p>\n\u003cp>Lysistrata’s boyfriend, Demetrius Dupree (Nick Cannon), who raps under the name “Chi-Raq,” heads up a purple-clad gang called the Spartans, and he looks for revenge after Cyclops (Wesley Snipes) and the rival Trojans, wearing orange, open fire during one of his club shows. When a stray Spartan bullet fells an 11-year-old girl and Lysistrata sees the anguish of the child’s mother (Jennifer Hudson, whose own personal tragedies are brought to the surface), she persuades the wives and girlfriends of gang members, as well as other women in the community, to withhold sex until the men come to their senses.\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>Samuel L. Jackson turns up as Dolmedes, the one-man Greek chorus who introduces the verse and ties the disparate story threads together, and John Cusack and Angela Bassett both do vital work as an activist priest and an intellectual, respectively, who lend their voices to the cause. Among the root causes batted around are the macho intransigence of gang leaders, faulty and corrupt institutions, mass incarceration, high unemployment, and poverty, and Lee tosses in up-to-the-minute talk about Sandra Bland and the church shooting in Charleston, South Carolina. “THIS IS AN EMERGENCY” scream the opening titles in big bold letters, and \u003cem>Chi-Raq\u003c/em> seeks to stay right in the moment.\u003c/p>\n\u003cp>Lee’s compulsion to jam every idea he has into the frame gives \u003cem>Chi-Raq\u003c/em> an instability that often sacrifices coherence for vitality. Though \u003cem>Lysistrata\u003c/em> is a satire, Lee’s film uses it mainly as a conceptual hook, so elements that are completely absurd and outrageous, like Lysistrata’s bizarre encounter with a neo-Confederate officer, are juxtaposed with scenes where Cusack and Bassett sound off earnestly about the issues of the day. They may share the same subject, but they don’t share the movie that comfortably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then again, a little misbehavior is the point. The fantasy and realism of \u003cem>Chi-Raq\u003c/em> may go together like plaids and stripes, but Lee isn’t one to let perfect be the enemy of good. If nothing else, the film asserts the value of trying something and failing rather than retreating to safe spaces. It turns candor into the highest possible virtue.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11132954/spike-lee-declares-an-emergency-in-chi-raq",
"authors": [
"byline_arts_11132954"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11132955",
"label": "arts_137"
},
"arts_11123074": {
"type": "posts",
"id": "arts_11123074",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11123074",
"score": null,
"sort": [
1448921828000
]
},
"guestAuthors": [],
"slug": "a-charlie-brown-christmas-turns-50-network-celebrates",
"title": "'A Charlie Brown Christmas' Turns 50, Network Celebrates",
"publishDate": 1448921828,
"format": "standard",
"headTitle": "‘A Charlie Brown Christmas’ Turns 50, Network Celebrates | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>[contextly_sidebar id=”Xb1zRVabgdx7TjqNYtpKpOUNoGELDhGD”]\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The Christmas special celebrates 50 years with a retrospective on ABC, and it seems more than ever like something we wouldn't get today.",
"status": "publish",
"parent": 0,
"modified": 1726763911,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 799
},
"headData": {
"title": "'A Charlie Brown Christmas' Turns 50, Network Celebrates | KQED",
"description": "The Christmas special celebrates 50 years with a retrospective on ABC, and it seems more than ever like something we wouldn't get today.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'A Charlie Brown Christmas' Turns 50, Network Celebrates",
"datePublished": "2015-11-30T14:17:08-08:00",
"dateModified": "2024-09-19T09:38:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Nicole Wilder",
"nprByline": "Linda Holmes",
"nprImageAgency": "ABC",
"nprStoryId": "457859235",
"nprApiLink": "http://api.npr.org/query?id=457859235&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/monkeysee/2015/11/30/457859235/a-charlie-brown-christmas-at-50?ft=nprml&f=457859235",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 30 Nov 2015 16:36:00 -0500",
"nprStoryDate": "Mon, 30 Nov 2015 12:08:00 -0500",
"nprLastModifiedDate": "Mon, 30 Nov 2015 16:36:39 -0500",
"path": "/arts/11123074/a-charlie-brown-christmas-turns-50-network-celebrates",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11123074/a-charlie-brown-christmas-turns-50-network-celebrates",
"authors": [
"byline_arts_11123074"
],
"categories": [
"arts_235",
"arts_75",
"arts_990"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11123076",
"label": "arts_137"
},
"arts_11111817": {
"type": "posts",
"id": "arts_11111817",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11111817",
"score": null,
"sort": [
1448636415000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1448636415,
"format": "standard",
"title": "Vital And Tear-Jerking, 'Creed' Is The Best Rocky Movie Since 'Rocky'",
"headTitle": "Vital And Tear-Jerking, ‘Creed’ Is The Best Rocky Movie Since ‘Rocky’ | KQED",
"content": "\u003cp>Remember \u003cem>Rocky?\u003c/em> That cornpone boxing movie from 40 years ago starring (and written by) that oiled-up, headband-wearing buffoon who talks funny? The one that stole Best Picture away from \u003cem>Network\u003c/em>, \u003cem>All the President’s Men\u003c/em>, \u003cem>Taxi Driver\u003c/em>, and Hal Ashby’s rather more obscure Woody Guthrie biopic \u003cem>Bound for Glory\u003c/em>?\u003c/p>\n\u003cp>Okay, on that last point, you’re technically correct; on the rest, you’re dead wrong. \u003cem>Rocky\u003c/em> is one of those movies that’s been retroactively devalued by its sequels. It’s somber and observant, more about the day-to-day of a shy Philadelphia hood with a crush on the girl at the pet store than about boxing for the first hour of its 119 minutes. Here’s the other thing you might not recall: Rocky \u003cem>loses\u003c/em> his fight with Apollo Creed at the end. He “merely” survives the 15-round crucible, proving to himself he’s not a coward or a quitter. Perhaps because of Bill Conti’s intrepid score, \u003cem> Rocky\u003c/em>‘s inspirational qualities have tended to overshadow its existential ones, but they’re equally vital.\u003c/p>\n\u003cp>Of its sequels, only 2006’s \u003cem>Rocky Balboa\u003c/em> had humility and brio in something like the same proportions as the original. Arriving 30 years after we first saw Rocky huff his way up the steps of the Philadelphia Museum of Art, it was a meditation on loss and mortality and raging against the dying of the light (though writer-director-star Sylvester Stallone was kind enough to leave Dylan Thomas unmentioned). As Rocky puts it in the marvelous new \u003cem>Creed\u003c/em>: “Time takes everybody out. Time’s undefeated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uv554B7YHk4\u003c/p>\n\u003cp>He’s speaking to Adonis Johnson (Michael B. Jordan), the illegitimate son of his opponent-turned-pal Apollo Creed, who died in the early rounds of 1985’s \u003cem>Rocky IV\u003c/em>. (You’re an educated person; surely you’ve seen these movies and read them in the original Greek.) In a prologue set in 1998, Creed’s well-off widow (Phylicia Rashad) rescues the combative young Adonis from a Los Angeles juvenile detention center and adopts him. In the present day, “Donny” is a college-educated man with a good job and a bright future. But he is his absentee father’s son, competing in unsanctioned fights in Mexico on the sly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he decides to go pro, he can’t get anyone to train him. The last 15 years of his life have been luxe; no one, including his adopted mom, thinks he’s hungry enough to survive in the ring. So he packs himself off to the City of Brotherly Love to look up Rocky. Donny never knew his old man, but so powerful is his craving for one that right away he’s calling Rocky “Unc,” as in Uncle — which feels about as natural as if he were addressing this old white dude he’s just met as “Italian Stallion.” (This is \u003cem>Creed\u003c/em>‘s hardest-to-swallow turn. If you can get past it, you’ll probably love the movie as much as I did.)\u003c/p>\n\u003cp>Rocky wants no part of this. When he’s not at the little Italian restaurant he named for his wife Adrian, who succumbed to cancer sometime after \u003cem>Rocky V\u003c/em>, he’s at the cemetery where she and his brother-in-law Paulie are buried, reading the paper aloud to their headstones. He’s at peace knowing his life will follow this humble pattern until it ends. But not \u003cem>completely\u003c/em> at peace, because — surprise! — eventually he agrees to give Donny a few tips.\u003c/p>\n\u003cp>You wonder if a similar lobbying campaign took place off-screen. This is the first \u003cem>Rocky\u003c/em> flick Stallone neither wrote nor directed. He’s entrusted his beloved creation to Ryan Coogler, the 29-year-old black filmmaker whose sole, stunning prior feature was \u003cem>Fruitvale Station\u003c/em>, a fact-based drama about the 2009 killing of an unarmed-and-handcuffed black man named Oscar Grant by a white police officer in Oakland, California. (Jordan played Grant.) At first glance, this looks like yet another case of a promising artist with a strong but still-developing voice getting drafted into the Franchise Wars…\u003c/p>\n\u003cp>…which I’d probably wring my hands over a whole lot more if \u003cem>Creed\u003c/em> were not so against-all-odds wonderful. It’s a warm-hearted, patient, unabashedly tear-jerking drama, one that gets its juice not from the training montages (though they’re stirring) or the bouts (though they’re convincingly performed and excitingly shot) but from the remarkable chemistry between Jordan and Stallone. Tessa Thompson is great, too, as a musician suffering from degenerative irony — sorry, I mean “gradual hearing loss.” But her nicely slow-moving courtship with Jordan is only the movie’s \u003cem>secondary\u003c/em> love affair.\u003c/p>\n\u003cp>Jordan is already much more famous than Stallone was when \u003cem>Rocky\u003c/em> snagged him a Best Actor nomination in 1976. His character, Donny, is handsome, educated, and brimming with confidence — Rocky’s opposite in every respect save for his drive to prove himself.\u003c/p>\n\u003cp>The alter ego that gave Stallone a career has always been the one that most resembles him offscreen. Just like Rocky Balboa, Stallone became a huge, unlikely star, but handled his success poorly. He allowed his vanity to speak louder than his talent. For a long time, he kept trying, writing and directing ambitious clunkers in between \u003cem>Rocky\u003c/em> and \u003cem>Rambo\u003c/em> sequels. But audiences never embraced his more challenging stuff. Eventually he threw up his hands and made only films he must’ve \u003cem>known\u003c/em> were garbage, for years on end.\u003c/p>\n\u003cp>While \u003cem>Creed\u003c/em> is not exactly Stallone’s \u003cem>Unforgiven\u003c/em>, it certainly benefits from the weariness and regret in his face, which somehow seems at last to have wrinkled away the strange uncanny-valley aspect of his appearance that has fueled so much speculation about plastic surgery. Whether the credit goes to the director or the actor or both, this is the performance of Stallone’s career, one in which that age-defying orange body stays covered up but his sadness is in full view.\u003c/p>\n\u003cp>While one hopes Coogler won’t stay in franchiseville after \u003cem>Creed,\u003c/em> he can feel good about having made an honorable, heart-tugging crowd-pleaser that should attract a more diverse crowd to the series while satisfying older fans with the best Rocky movie since \u003cem>Rocky\u003c/em>. The last half-year has seen films like \u003cem>Jurassic World\u003c/em>, \u003cem>Terminator: Genisys\u003c/em>, and \u003cem>Spectre\u003c/em> so busy paying homage to their forebears that any new tricks they might have get upstaged. Coogler perfectly threads the needle between innovation and reverence, keeping the familiar \u003cem>Rocky\u003c/em> signposts — the Conti theme, the training montages, those museum steps — present, but recontextualized.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He puts his own stamp on the series’ obligatory scenes with a training sequence that is almost a dance number, wherein neighborhood kids ride their motorbikes and four-wheelers alongside Donny as he’s running. They form a circle around him as he leaps into the air, imagining his victory. There’s a lot of movie left after this, but the emotional climax is right here. They’ve always peaked early, these \u003cem>Rocky\u003c/em> pictures; with \u003cem>Creed\u003c/em>, the series peaks again.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1255,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705045834,
"excerpt": "Terrific chemistry between Sylvester Stallone and Michael B. Jordan fuels the fine and stirring story of Apollo Creed's son.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Terrific chemistry between Sylvester Stallone and Michael B. Jordan fuels the fine and stirring story of Apollo Creed's son.",
"title": "Vital And Tear-Jerking, 'Creed' Is The Best Rocky Movie Since 'Rocky' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Vital And Tear-Jerking, 'Creed' Is The Best Rocky Movie Since 'Rocky'",
"datePublished": "2015-11-27T07:00:15-08:00",
"dateModified": "2024-01-11T23:50:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=457130828&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Wed, 25 Nov 2015 17:04:05 -0500",
"nprLastModifiedDate": "Wed, 25 Nov 2015 17:04:05 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/11/25/457130828/vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky?ft=nprml&f=457130828",
"nprImageAgency": "Courtesy of Warner Bros. Pictures",
"nprImageCredit": "Barry Wetcher",
"nprStoryId": "457130828",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 25 Nov 2015 17:04:00 -0500",
"path": "/arts/11111817/vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember \u003cem>Rocky?\u003c/em> That cornpone boxing movie from 40 years ago starring (and written by) that oiled-up, headband-wearing buffoon who talks funny? The one that stole Best Picture away from \u003cem>Network\u003c/em>, \u003cem>All the President’s Men\u003c/em>, \u003cem>Taxi Driver\u003c/em>, and Hal Ashby’s rather more obscure Woody Guthrie biopic \u003cem>Bound for Glory\u003c/em>?\u003c/p>\n\u003cp>Okay, on that last point, you’re technically correct; on the rest, you’re dead wrong. \u003cem>Rocky\u003c/em> is one of those movies that’s been retroactively devalued by its sequels. It’s somber and observant, more about the day-to-day of a shy Philadelphia hood with a crush on the girl at the pet store than about boxing for the first hour of its 119 minutes. Here’s the other thing you might not recall: Rocky \u003cem>loses\u003c/em> his fight with Apollo Creed at the end. He “merely” survives the 15-round crucible, proving to himself he’s not a coward or a quitter. Perhaps because of Bill Conti’s intrepid score, \u003cem> Rocky\u003c/em>‘s inspirational qualities have tended to overshadow its existential ones, but they’re equally vital.\u003c/p>\n\u003cp>Of its sequels, only 2006’s \u003cem>Rocky Balboa\u003c/em> had humility and brio in something like the same proportions as the original. Arriving 30 years after we first saw Rocky huff his way up the steps of the Philadelphia Museum of Art, it was a meditation on loss and mortality and raging against the dying of the light (though writer-director-star Sylvester Stallone was kind enough to leave Dylan Thomas unmentioned). As Rocky puts it in the marvelous new \u003cem>Creed\u003c/em>: “Time takes everybody out. Time’s undefeated.”\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/Uv554B7YHk4'\n title='//www.youtube.com/embed/Uv554B7YHk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s speaking to Adonis Johnson (Michael B. Jordan), the illegitimate son of his opponent-turned-pal Apollo Creed, who died in the early rounds of 1985’s \u003cem>Rocky IV\u003c/em>. (You’re an educated person; surely you’ve seen these movies and read them in the original Greek.) In a prologue set in 1998, Creed’s well-off widow (Phylicia Rashad) rescues the combative young Adonis from a Los Angeles juvenile detention center and adopts him. In the present day, “Donny” is a college-educated man with a good job and a bright future. But he is his absentee father’s son, competing in unsanctioned fights in Mexico on the sly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he decides to go pro, he can’t get anyone to train him. The last 15 years of his life have been luxe; no one, including his adopted mom, thinks he’s hungry enough to survive in the ring. So he packs himself off to the City of Brotherly Love to look up Rocky. Donny never knew his old man, but so powerful is his craving for one that right away he’s calling Rocky “Unc,” as in Uncle — which feels about as natural as if he were addressing this old white dude he’s just met as “Italian Stallion.” (This is \u003cem>Creed\u003c/em>‘s hardest-to-swallow turn. If you can get past it, you’ll probably love the movie as much as I did.)\u003c/p>\n\u003cp>Rocky wants no part of this. When he’s not at the little Italian restaurant he named for his wife Adrian, who succumbed to cancer sometime after \u003cem>Rocky V\u003c/em>, he’s at the cemetery where she and his brother-in-law Paulie are buried, reading the paper aloud to their headstones. He’s at peace knowing his life will follow this humble pattern until it ends. But not \u003cem>completely\u003c/em> at peace, because — surprise! — eventually he agrees to give Donny a few tips.\u003c/p>\n\u003cp>You wonder if a similar lobbying campaign took place off-screen. This is the first \u003cem>Rocky\u003c/em> flick Stallone neither wrote nor directed. He’s entrusted his beloved creation to Ryan Coogler, the 29-year-old black filmmaker whose sole, stunning prior feature was \u003cem>Fruitvale Station\u003c/em>, a fact-based drama about the 2009 killing of an unarmed-and-handcuffed black man named Oscar Grant by a white police officer in Oakland, California. (Jordan played Grant.) At first glance, this looks like yet another case of a promising artist with a strong but still-developing voice getting drafted into the Franchise Wars…\u003c/p>\n\u003cp>…which I’d probably wring my hands over a whole lot more if \u003cem>Creed\u003c/em> were not so against-all-odds wonderful. It’s a warm-hearted, patient, unabashedly tear-jerking drama, one that gets its juice not from the training montages (though they’re stirring) or the bouts (though they’re convincingly performed and excitingly shot) but from the remarkable chemistry between Jordan and Stallone. Tessa Thompson is great, too, as a musician suffering from degenerative irony — sorry, I mean “gradual hearing loss.” But her nicely slow-moving courtship with Jordan is only the movie’s \u003cem>secondary\u003c/em> love affair.\u003c/p>\n\u003cp>Jordan is already much more famous than Stallone was when \u003cem>Rocky\u003c/em> snagged him a Best Actor nomination in 1976. His character, Donny, is handsome, educated, and brimming with confidence — Rocky’s opposite in every respect save for his drive to prove himself.\u003c/p>\n\u003cp>The alter ego that gave Stallone a career has always been the one that most resembles him offscreen. Just like Rocky Balboa, Stallone became a huge, unlikely star, but handled his success poorly. He allowed his vanity to speak louder than his talent. For a long time, he kept trying, writing and directing ambitious clunkers in between \u003cem>Rocky\u003c/em> and \u003cem>Rambo\u003c/em> sequels. But audiences never embraced his more challenging stuff. Eventually he threw up his hands and made only films he must’ve \u003cem>known\u003c/em> were garbage, for years on end.\u003c/p>\n\u003cp>While \u003cem>Creed\u003c/em> is not exactly Stallone’s \u003cem>Unforgiven\u003c/em>, it certainly benefits from the weariness and regret in his face, which somehow seems at last to have wrinkled away the strange uncanny-valley aspect of his appearance that has fueled so much speculation about plastic surgery. Whether the credit goes to the director or the actor or both, this is the performance of Stallone’s career, one in which that age-defying orange body stays covered up but his sadness is in full view.\u003c/p>\n\u003cp>While one hopes Coogler won’t stay in franchiseville after \u003cem>Creed,\u003c/em> he can feel good about having made an honorable, heart-tugging crowd-pleaser that should attract a more diverse crowd to the series while satisfying older fans with the best Rocky movie since \u003cem>Rocky\u003c/em>. The last half-year has seen films like \u003cem>Jurassic World\u003c/em>, \u003cem>Terminator: Genisys\u003c/em>, and \u003cem>Spectre\u003c/em> so busy paying homage to their forebears that any new tricks they might have get upstaged. Coogler perfectly threads the needle between innovation and reverence, keeping the familiar \u003cem>Rocky\u003c/em> signposts — the Conti theme, the training montages, those museum steps — present, but recontextualized.\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>He puts his own stamp on the series’ obligatory scenes with a training sequence that is almost a dance number, wherein neighborhood kids ride their motorbikes and four-wheelers alongside Donny as he’s running. They form a circle around him as he leaps into the air, imagining his victory. There’s a lot of movie left after this, but the emotional climax is right here. They’ve always peaked early, these \u003cem>Rocky\u003c/em> pictures; with \u003cem>Creed\u003c/em>, the series peaks again.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11111817/vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky",
"authors": [
"byline_arts_11111817"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11112030",
"label": "arts_137"
},
"arts_11107065": {
"type": "posts",
"id": "arts_11107065",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11107065",
"score": null,
"sort": [
1448404851000
]
},
"guestAuthors": [],
"slug": "cynthia-robinson-co-founder-of-sly-the-family-stone-dies-at-69",
"title": "Cynthia Robinson, Co-Founder Of Sly & The Family Stone, Dies at 69",
"publishDate": 1448404851,
"format": "standard",
"headTitle": "Cynthia Robinson, Co-Founder Of Sly & The Family Stone, Dies at 69 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4URogrXiKsI\u003c/p>\n\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The woman who urged fans to \"Dance to the Music\" was a trailblazing trumpeter. She died Monday at age 69.",
"status": "publish",
"parent": 0,
"modified": 1726763918,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 751
},
"headData": {
"title": "Cynthia Robinson, Co-Founder Of Sly & The Family Stone, Dies at 69 | KQED",
"description": "The woman who urged fans to "Dance to the Music" was a trailblazing trumpeter. She died Monday at age 69.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cynthia Robinson, Co-Founder Of Sly & The Family Stone, Dies at 69",
"datePublished": "2015-11-24T14:40:51-08:00",
"dateModified": "2024-09-19T09:38:38-07:00",
"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": "457256347",
"nprApiLink": "http://api.npr.org/query?id=457256347&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/therecord/2015/11/24/457256347/remembering-cynthia-robinson-co-founder-of-sly-the-family-stone?ft=nprml&f=457256347",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 24 Nov 2015 14:34:00 -0500",
"nprStoryDate": "Tue, 24 Nov 2015 14:34:00 -0500",
"nprLastModifiedDate": "Tue, 24 Nov 2015 14:36:10 -0500",
"path": "/arts/11107065/cynthia-robinson-co-founder-of-sly-the-family-stone-dies-at-69",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\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/4URogrXiKsI'\n title='//www.youtube.com/embed/4URogrXiKsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11107065/cynthia-robinson-co-founder-of-sly-the-family-stone-dies-at-69",
"authors": [
"byline_arts_11107065"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1254",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11106951",
"label": "arts_137"
},
"arts_11102747": {
"type": "posts",
"id": "arts_11102747",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11102747",
"score": null,
"sort": [
1448265643000
]
},
"guestAuthors": [],
"slug": "cnn-airs-documentary-on-sexual-assault-despite-legal-threats",
"title": "CNN Airs Documentary on Sexual Assault, Despite Legal Threats",
"publishDate": 1448265643,
"format": "standard",
"headTitle": "CNN Airs Documentary on Sexual Assault, Despite Legal Threats | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>CNN aired \u003cem>The Hunting Ground — \u003c/em>a controversial documentary about campus sexual assaults — despite the threat of legal action.\u003c/p>\n\u003cp>A lawyer for Tampa Bay Buccaneers quarterback Jameis Winston threatened to sue CNN if it aired the film on Sunday night. It ran as scheduled.\u003c/p>\n\u003cp>In the film, Erica Kinsman accuses Winston of committing sexual assault during his time on the football team at Florida State University, a claim his lawyer says is defamatory.\u003c/p>\n\u003cp>In a letter to CNN first obtained by \u003cem>The Hollywood Reporter\u003c/em>, lawyer John Boudet says the film “manipulates, misstates or simply omits facts to present a false narrative”:\u003c/p>\n\u003cblockquote>\n\u003cp>“We urge CNN to reconsider the reckless decision to proceed with the broadcast of this deeply-flawed documentary in the face of the overwhelming evidence the film’s producers consciously and intentionally failed to adhere to any accepted journalistic standards.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The documentary, which was shown at the Sundance Film Festival, argues women are at serious risk of sexual assault on college campuses and many college administrators have repeatedly tried to sweep the problem under the rug to avoid public relations problems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kinsman has filed a lawsuit against Winston, accusing him of forcible rape in 2012. He was not charged by police in Florida and is now starting for the Buccaneers.\u003c/p>\n\u003cp>Kinsman’s lawyer, John Clune, issued a statement over the weekend saying Winston had launched a “PR battle”:\u003c/p>\n\u003cblockquote>\n\u003cp>“His latest attack is an attempt to revive his lawyers’ media themes and, as expected, shows no understanding of rape trauma and misrepresents the actual evidence. More importantly, Mr. Winston should get used to the rape allegations against him because film or no film, they aren’t going away.”\u003c/p>\n\u003c/blockquote>\n\u003cp>CNN made clear it would go ahead with plans to air the documentary.\u003c/p>\n\u003cp>“CNN is proud to provide a platform for a film that has undeniably played a significant role in advancing the national conversation about sexual assault on college campuses,” a network spokeswoman told \u003ca href=\"http://www.nytimes.com/2015/11/23/business/cnn-to-show-sex-assault-film-despite-legal-threat.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=second-column-region®ion=top-news&WT.nav=top-news&_r=0\">The New York Times\u003c/a>. “We are confident that both the film and our extensive associated coverage give this important issue the full and fair treatment it deserves.”\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em> has also been criticized for its depiction of an incident at Harvard Law School, in which a student was accused of assaulting two women.\u003c/p>\n\u003cp>\u003ca href=\"https://kcjohnson.files.wordpress.com/2013/08/hls-pressrelease.pdf\">A letter\u003c/a> signed by 19 Harvard Law School faculty members said the film “provides a seriously false picture both of the general sexual assault phenomenon at universities and of our student,” noting a grand jury declined to indict him on the most serious sexual assault charges brought against him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The documentary makers say they \u003ca href=\"http://www.thehuntinggroundfilm.com/2015/11/response-to-statement-by-19-harvard-law-professors/\">stand behind the case\u003c/a> as they presented it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=CNN+Airs+Documentary+on+Sexual+Assault%2C+Despite+Legal+Threats&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Buccaneers quarterback Jameis Winston said he'd sue if the network aired the controversial documentary \u003cem>The Hunting Ground,\u003c/em> which features\u003cem> \u003c/em>assault allegations against him. It aired Sunday night.",
"status": "publish",
"parent": 0,
"modified": 1726788326,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 471
},
"headData": {
"title": "CNN Airs Documentary on Sexual Assault, Despite Legal Threats | KQED",
"description": "Buccaneers quarterback Jameis Winston said he'd sue if the network aired the controversial documentary The Hunting Ground, which features assault allegations against him. It aired Sunday night.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "CNN Airs Documentary on Sexual Assault, Despite Legal Threats",
"datePublished": "2015-11-23T00:00:43-08:00",
"dateModified": "2024-09-19T16:25:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jim Zarroli",
"nprStoryId": "457027388",
"nprApiLink": "http://api.npr.org/query?id=457027388&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/11/22/457027388/cnn-will-air-documentary-on-sexual-assault-despite-legal-threats?ft=nprml&f=457027388",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 22 Nov 2015 21:06:00 -0500",
"nprStoryDate": "Sun, 22 Nov 2015 19:07:00 -0500",
"nprLastModifiedDate": "Sun, 22 Nov 2015 21:06:36 -0500",
"path": "/arts/11102747/cnn-airs-documentary-on-sexual-assault-despite-legal-threats",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CNN aired \u003cem>The Hunting Ground — \u003c/em>a controversial documentary about campus sexual assaults — despite the threat of legal action.\u003c/p>\n\u003cp>A lawyer for Tampa Bay Buccaneers quarterback Jameis Winston threatened to sue CNN if it aired the film on Sunday night. It ran as scheduled.\u003c/p>\n\u003cp>In the film, Erica Kinsman accuses Winston of committing sexual assault during his time on the football team at Florida State University, a claim his lawyer says is defamatory.\u003c/p>\n\u003cp>In a letter to CNN first obtained by \u003cem>The Hollywood Reporter\u003c/em>, lawyer John Boudet says the film “manipulates, misstates or simply omits facts to present a false narrative”:\u003c/p>\n\u003cblockquote>\n\u003cp>“We urge CNN to reconsider the reckless decision to proceed with the broadcast of this deeply-flawed documentary in the face of the overwhelming evidence the film’s producers consciously and intentionally failed to adhere to any accepted journalistic standards.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The documentary, which was shown at the Sundance Film Festival, argues women are at serious risk of sexual assault on college campuses and many college administrators have repeatedly tried to sweep the problem under the rug to avoid public relations problems.\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>Kinsman has filed a lawsuit against Winston, accusing him of forcible rape in 2012. He was not charged by police in Florida and is now starting for the Buccaneers.\u003c/p>\n\u003cp>Kinsman’s lawyer, John Clune, issued a statement over the weekend saying Winston had launched a “PR battle”:\u003c/p>\n\u003cblockquote>\n\u003cp>“His latest attack is an attempt to revive his lawyers’ media themes and, as expected, shows no understanding of rape trauma and misrepresents the actual evidence. More importantly, Mr. Winston should get used to the rape allegations against him because film or no film, they aren’t going away.”\u003c/p>\n\u003c/blockquote>\n\u003cp>CNN made clear it would go ahead with plans to air the documentary.\u003c/p>\n\u003cp>“CNN is proud to provide a platform for a film that has undeniably played a significant role in advancing the national conversation about sexual assault on college campuses,” a network spokeswoman told \u003ca href=\"http://www.nytimes.com/2015/11/23/business/cnn-to-show-sex-assault-film-despite-legal-threat.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=second-column-region®ion=top-news&WT.nav=top-news&_r=0\">The New York Times\u003c/a>. “We are confident that both the film and our extensive associated coverage give this important issue the full and fair treatment it deserves.”\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em> has also been criticized for its depiction of an incident at Harvard Law School, in which a student was accused of assaulting two women.\u003c/p>\n\u003cp>\u003ca href=\"https://kcjohnson.files.wordpress.com/2013/08/hls-pressrelease.pdf\">A letter\u003c/a> signed by 19 Harvard Law School faculty members said the film “provides a seriously false picture both of the general sexual assault phenomenon at universities and of our student,” noting a grand jury declined to indict him on the most serious sexual assault charges brought against him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The documentary makers say they \u003ca href=\"http://www.thehuntinggroundfilm.com/2015/11/response-to-statement-by-19-harvard-law-professors/\">stand behind the case\u003c/a> as they presented it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=CNN+Airs+Documentary+on+Sexual+Assault%2C+Despite+Legal+Threats&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11102747/cnn-airs-documentary-on-sexual-assault-despite-legal-threats",
"authors": [
"byline_arts_11102747"
],
"categories": [
"arts_74",
"arts_235"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11102852",
"label": "arts_137"
},
"arts_11092188": {
"type": "posts",
"id": "arts_11092188",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11092188",
"score": null,
"sort": [
1448031604000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1448031604,
"format": "standard",
"title": "All-Star 'Spotlight' Cast Creates A Riveting Movie About Investigative Journalism",
"headTitle": "All-Star ‘Spotlight’ Cast Creates A Riveting Movie About Investigative Journalism | KQED",
"content": "\u003cp>Nowadays, the news is full of stories about sexual assaults on children by priests and other religious authority figures, as well as battles over compensation for victims. There were many such cases in the last half of the 20th century, but the idea that such revelations would someday be \u003cem>routine\u003c/em> — and be centered all over the U.S., in Ireland, in South America — was unimaginable.\u003c/p>\n\u003cp>The tipping point was in 2002, when a group of \u003cem>Boston Globe\u003c/em> reporters uncovered not just a vast number of pedophile priests, but a vast network of Church enablers. The reporters’ unit was called “Spotlight,” which is the name of the film that recounts their investigation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yXymzwz0V2g\u003c/p>\n\u003cp>It’s a brilliant, riveting work — but not a sensationalized one. Director Tom McCarthy never uses the victims’ anguished recollections for easy shocks. Instead, he and co-writer Josh Singer fashion a tight, step-by-step procedural drama in which most scenes turn on reporters poring over old files and pressing closed-down people to open up. The horror builds gradually.\u003c/p>\n\u003cp>The “Spotlight” team is allowed to spend months, even years, exploring single stories, but this one at first looks to the unit’s chief, Michael Keaton’s Walter “Robby” Robinson, like a long shot. He and the others are Catholic, and even if they’ve lapsed, who wants to offend relatives or neighbors? Plus, more than half the \u003cem>Globe\u003c/em>‘s subscribers are Catholic and prone to picketing the paper. It takes an outsider — new, non-Bostonian, Jewish editor, Marty Baron, played by Liev Schreiber — to ratchet things up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The turning point is when Baron meets with Robinson, reporters Michael Rezendes (played by Mark Ruffalo) and Sacha Pfeiffer (played by Rachel McAdams), and deputy managing editor Ben Bradlee, Jr. (played by John Slattery). Years earlier, the paper reported on a pedophile priest named Porter, but the story stopped there. This time, the story could widen to call into question the actions of the Archbishop of Boston, Cardinal Bernard Law.\u003c/p>\n\u003cp>In \u003cem>Spotlight\u003c/em>, there’s no central protagonist, only reporters pulling out threads and phoning one another breathlessly as the scale of the cover-up becomes visible. Priests preyed on lonely kids from poor neighborhoods who could be bullied into silence or would never be believed. All were damaged, some are dead.\u003c/p>\n\u003cp>Meanwhile, hearty, backslapping church officials lean in close to Robinson and Bradlee and say, in effect, \u003cem>Marty Baron has an agenda. He’s not from here, he can leave anytime. You, on the other hand, have to live here…\u003c/em> Until the team uncovers a larger pattern, the Church can claim it’s a few “bad apples” rather than an epidemic that thrives in a culture of secrecy and male privilege.\u003c/p>\n\u003cp>The film has one of the best ensembles — top to bottom — in years. Okay, Ruffalo overdoes his character’s shlubbiness, but whenever he’s opposite Stanley Tucci as cranky crusading class-action lawyer Mitchell Garabedian, the \u003cem>mano a mano\u003c/em> is thrilling. For legal reasons, Garabedian has to muzzle himself, but he has such contempt for the reporters’ slowness in coming to the story that, even though they’re allies, he taunts them with his silence. Billy Crudup is particularly convincing as a super-smooth victims’ lawyer with a history of helping the Church dispose of cases cheaply, without publicity. Jamey Sheridan as a Church-connected lawyer gives us glimpses of the demon under the human face — and, later, the human under the demon’s.\u003c/p>\n\u003cp>Two actors give \u003cem>Spotlight\u003c/em> its dramatic fulcrum. Slattery’s Bradlee is a friend of Church figures and palpably uncomfortable early on — but he goes forward anyway. Keaton’s Robinson is even more jittery, shocked by his own history of non-action. Keaton and Slattery turn a particular tragedy into a universal one: They play men who sit in judgment on themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was the existence of the \u003cem>Globe’\u003c/em>s “Spotlight” unit that made these revelations possible. The movie makes the best case for the necessity of investigative journalism than any film since \u003cem>All the President’s Men\u003c/em>.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 721,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705045893,
"excerpt": "Chronicling the real-life team of reporters who exposed a network of pedophile priests and Church enablers in Boston.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Chronicling the real-life team of reporters who exposed a network of pedophile priests and Church enablers in Boston.",
"title": "All-Star 'Spotlight' Cast Creates A Riveting Movie About Investigative Journalism | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "All-Star 'Spotlight' Cast Creates A Riveting Movie About Investigative Journalism",
"datePublished": "2015-11-20T07:00:04-08:00",
"dateModified": "2024-01-11T23:51:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=454988021&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "David Edelstein",
"nprStoryDate": "Fri, 06 Nov 2015 13:58:56 -0500",
"nprLastModifiedDate": "Fri, 06 Nov 2015 13:58:56 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/11/06/454988021/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism?ft=nprml&f=454988021",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/11/20151106_fa_03.mp3?orgId=427869011&topicId=4467349&d=422&p=13&story=454988021&t=progseg&e=454984722&seg=3&ft=nprml&f=454988021",
"nprAudioM3u": "http://api.npr.org/m3u/1455032413-b9cd51.m3u?orgId=427869011&topicId=4467349&d=422&p=13&story=454988021&t=progseg&e=454984722&seg=3&ft=nprml&f=454988021",
"nprStoryId": "454988021",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 06 Nov 2015 13:58:00 -0500",
"path": "/arts/11092188/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/11/20151106_fa_03.mp3?orgId=427869011&topicId=4467349&d=422&p=13&story=454988021&t=progseg&e=454984722&seg=3&ft=nprml&f=454988021",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nowadays, the news is full of stories about sexual assaults on children by priests and other religious authority figures, as well as battles over compensation for victims. There were many such cases in the last half of the 20th century, but the idea that such revelations would someday be \u003cem>routine\u003c/em> — and be centered all over the U.S., in Ireland, in South America — was unimaginable.\u003c/p>\n\u003cp>The tipping point was in 2002, when a group of \u003cem>Boston Globe\u003c/em> reporters uncovered not just a vast number of pedophile priests, but a vast network of Church enablers. The reporters’ unit was called “Spotlight,” which is the name of the film that recounts their investigation.\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/yXymzwz0V2g'\n title='//www.youtube.com/embed/yXymzwz0V2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a brilliant, riveting work — but not a sensationalized one. Director Tom McCarthy never uses the victims’ anguished recollections for easy shocks. Instead, he and co-writer Josh Singer fashion a tight, step-by-step procedural drama in which most scenes turn on reporters poring over old files and pressing closed-down people to open up. The horror builds gradually.\u003c/p>\n\u003cp>The “Spotlight” team is allowed to spend months, even years, exploring single stories, but this one at first looks to the unit’s chief, Michael Keaton’s Walter “Robby” Robinson, like a long shot. He and the others are Catholic, and even if they’ve lapsed, who wants to offend relatives or neighbors? Plus, more than half the \u003cem>Globe\u003c/em>‘s subscribers are Catholic and prone to picketing the paper. It takes an outsider — new, non-Bostonian, Jewish editor, Marty Baron, played by Liev Schreiber — to ratchet things up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The turning point is when Baron meets with Robinson, reporters Michael Rezendes (played by Mark Ruffalo) and Sacha Pfeiffer (played by Rachel McAdams), and deputy managing editor Ben Bradlee, Jr. (played by John Slattery). Years earlier, the paper reported on a pedophile priest named Porter, but the story stopped there. This time, the story could widen to call into question the actions of the Archbishop of Boston, Cardinal Bernard Law.\u003c/p>\n\u003cp>In \u003cem>Spotlight\u003c/em>, there’s no central protagonist, only reporters pulling out threads and phoning one another breathlessly as the scale of the cover-up becomes visible. Priests preyed on lonely kids from poor neighborhoods who could be bullied into silence or would never be believed. All were damaged, some are dead.\u003c/p>\n\u003cp>Meanwhile, hearty, backslapping church officials lean in close to Robinson and Bradlee and say, in effect, \u003cem>Marty Baron has an agenda. He’s not from here, he can leave anytime. You, on the other hand, have to live here…\u003c/em> Until the team uncovers a larger pattern, the Church can claim it’s a few “bad apples” rather than an epidemic that thrives in a culture of secrecy and male privilege.\u003c/p>\n\u003cp>The film has one of the best ensembles — top to bottom — in years. Okay, Ruffalo overdoes his character’s shlubbiness, but whenever he’s opposite Stanley Tucci as cranky crusading class-action lawyer Mitchell Garabedian, the \u003cem>mano a mano\u003c/em> is thrilling. For legal reasons, Garabedian has to muzzle himself, but he has such contempt for the reporters’ slowness in coming to the story that, even though they’re allies, he taunts them with his silence. Billy Crudup is particularly convincing as a super-smooth victims’ lawyer with a history of helping the Church dispose of cases cheaply, without publicity. Jamey Sheridan as a Church-connected lawyer gives us glimpses of the demon under the human face — and, later, the human under the demon’s.\u003c/p>\n\u003cp>Two actors give \u003cem>Spotlight\u003c/em> its dramatic fulcrum. Slattery’s Bradlee is a friend of Church figures and palpably uncomfortable early on — but he goes forward anyway. Keaton’s Robinson is even more jittery, shocked by his own history of non-action. Keaton and Slattery turn a particular tragedy into a universal one: They play men who sit in judgment on themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was the existence of the \u003cem>Globe’\u003c/em>s “Spotlight” unit that made these revelations possible. The movie makes the best case for the necessity of investigative journalism than any film since \u003cem>All the President’s Men\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11092188/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism",
"authors": [
"byline_arts_11092188"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11092190",
"label": "arts_137"
},
"arts_11090788": {
"type": "posts",
"id": "arts_11090788",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11090788",
"score": null,
"sort": [
1447838807000
]
},
"guestAuthors": [],
"slug": "patti-labelle-pies-sell-out-after-youtube-video-goes-viral",
"title": "Patti LaBelle Pies Sell Out After YouTube Video Goes Viral",
"publishDate": 1447838807,
"format": "standard",
"headTitle": "Patti LaBelle Pies Sell Out After YouTube Video Goes Viral | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Earlier this year, singer and cookbook author Patti LaBelle teamed up with Wal-Mart to make a sweet potato pie.\u003c/p>\n\u003cp>It costs $3.48, it’s got her face on the box, and sales were just OK when it came out in September.\u003c/p>\n\u003cp>But today, it’s a scarcity. The pies have sold out in many Wal-Mart stores and are going for up to $40.00 on Ebay. (We found this \u003ca href=\"https://washingtondc.craigslist.org/doc/for/5316668722.html\">Craigslist listing\u003c/a> selling slices for $10 each in Washington, D.C.)\u003c/p>\n\u003cp>And that’s all because of this guy.\u003cstrong> (Warning: The video includes some profanity.)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQRwFn7WPk8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A singer named James Wright posted this video to Facebook last week. In it, he unboxes and eats the Patti LaBelle pie, while breaking into song like he’s in a Patti LaBelle musical (with the occasional profanity thrown in.) The video has since racked up over 8.5 million views, and Wal-Mart hasn’t been able to keep up with the ensuing demand for pie.\u003c/p>\n\u003cp>According to Kerry Robinson, vice president for bakery and deli at Wal-Mart, they were selling \u003cem>a pie per second\u003c/em> last weekend, after the video dropped.\u003c/p>\n\u003cp>That number is close to the reigning king of holiday pies, pumpkin. It’s also caused some supply issues for LaBelle’s pies.\u003c/p>\n\u003cp>“We are working very hard with our supplier to try and produce more product,” says Robinson. “We’re in the process of securing another 2 million pounds of sweet potatoes.”\u003c/p>\n\u003cp>Syreeta Gates is banking on those 2 million pounds coming through by Saturday. She lives in New York City, and she’s hoping to buy a couple pies this weekend.\u003c/p>\n\u003cp>“I’ve been a fan of Patti LaBelle for my entire life,” Gates says. “I remember my mother playing her at home, and I have all the cookbooks. But after I saw the video, I said, ‘You know what? I think I’m going to go out and buy some pies.’ ”\u003c/p>\n\u003cp>She’s got the cookbooks, and she can make the pie herself. But she’s still going out to buy a bunch for her friends. Because she says it’s not about the taste: It’s about taking part in a wider celebration of black culture.\u003c/p>\n\u003cp>“I’m sure a lot of our grandmas can make sweet potato pies that are equivalent ,if not possibly better, than Patti LaBelle’s pie,” Gates says. “People congregate around food. But this is the first time in a real way that the community — black people, or people of color — have communed around food via the Internet.” They’re “breaking bread” together, she says.\u003c/p>\n\u003cp>And to participate in that, Syreeta gates says, is a treat. It’s like Thanksgiving came early. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456395409/456395410\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Once+A+Hard+Sell%2C+Wal-Mart%27s+Patti+LaBelle+Pies+Fly+Off+Shelves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The sweet potato pie, sold in boxes bearing LaBelle's face, was a ho-hum seller until a video singing its praises went viral last week. Why pie fever? Partly, it's about celebrating black culture.",
"status": "publish",
"parent": 0,
"modified": 1726788334,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 508
},
"headData": {
"title": "Patti LaBelle Pies Sell Out After YouTube Video Goes Viral | KQED",
"description": "The sweet potato pie, sold in boxes bearing LaBelle's face, was a ho-hum seller until a video singing its praises went viral last week. Why pie fever? Partly, it's about celebrating black culture.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Patti LaBelle Pies Sell Out After YouTube Video Goes Viral",
"datePublished": "2015-11-18T01:26:47-08:00",
"dateModified": "2024-09-19T16:25:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Limbong",
"nprStoryId": "456395409",
"nprApiLink": "http://api.npr.org/query?id=456395409&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thesalt/2015/11/17/456395409/once-a-hard-sell-wal-marts-patti-labelle-pies-fly-off-shelves?ft=nprml&f=456395409",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 17 Nov 2015 19:09:00 -0500",
"nprStoryDate": "Tue, 17 Nov 2015 16:14:00 -0500",
"nprLastModifiedDate": "Tue, 17 Nov 2015 19:09:31 -0500",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/11/20151117_atc_once_a_hard_sell_walmarts_patti_labelle_pies_fly_off_shelves.mp3?orgId=1&topicId=1048&d=137&p=2&story=456395409&t=progseg&e=456391191&seg=10&ft=nprml&f=456395409",
"nprAudioM3u": "http://api.npr.org/m3u/1456395410-f9b50c.m3u?orgId=1&topicId=1048&d=137&p=2&story=456395409&t=progseg&e=456391191&seg=10&ft=nprml&f=456395409",
"path": "/arts/11090788/patti-labelle-pies-sell-out-after-youtube-video-goes-viral",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/11/20151117_atc_once_a_hard_sell_walmarts_patti_labelle_pies_fly_off_shelves.mp3?orgId=1&topicId=1048&d=137&p=2&story=456395409&t=progseg&e=456391191&seg=10&ft=nprml&f=456395409",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, singer and cookbook author Patti LaBelle teamed up with Wal-Mart to make a sweet potato pie.\u003c/p>\n\u003cp>It costs $3.48, it’s got her face on the box, and sales were just OK when it came out in September.\u003c/p>\n\u003cp>But today, it’s a scarcity. The pies have sold out in many Wal-Mart stores and are going for up to $40.00 on Ebay. (We found this \u003ca href=\"https://washingtondc.craigslist.org/doc/for/5316668722.html\">Craigslist listing\u003c/a> selling slices for $10 each in Washington, D.C.)\u003c/p>\n\u003cp>And that’s all because of this guy.\u003cstrong> (Warning: The video includes some profanity.)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eQRwFn7WPk8'\n title='//www.youtube.com/embed/eQRwFn7WPk8'\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>A singer named James Wright posted this video to Facebook last week. In it, he unboxes and eats the Patti LaBelle pie, while breaking into song like he’s in a Patti LaBelle musical (with the occasional profanity thrown in.) The video has since racked up over 8.5 million views, and Wal-Mart hasn’t been able to keep up with the ensuing demand for pie.\u003c/p>\n\u003cp>According to Kerry Robinson, vice president for bakery and deli at Wal-Mart, they were selling \u003cem>a pie per second\u003c/em> last weekend, after the video dropped.\u003c/p>\n\u003cp>That number is close to the reigning king of holiday pies, pumpkin. It’s also caused some supply issues for LaBelle’s pies.\u003c/p>\n\u003cp>“We are working very hard with our supplier to try and produce more product,” says Robinson. “We’re in the process of securing another 2 million pounds of sweet potatoes.”\u003c/p>\n\u003cp>Syreeta Gates is banking on those 2 million pounds coming through by Saturday. She lives in New York City, and she’s hoping to buy a couple pies this weekend.\u003c/p>\n\u003cp>“I’ve been a fan of Patti LaBelle for my entire life,” Gates says. “I remember my mother playing her at home, and I have all the cookbooks. But after I saw the video, I said, ‘You know what? I think I’m going to go out and buy some pies.’ ”\u003c/p>\n\u003cp>She’s got the cookbooks, and she can make the pie herself. But she’s still going out to buy a bunch for her friends. Because she says it’s not about the taste: It’s about taking part in a wider celebration of black culture.\u003c/p>\n\u003cp>“I’m sure a lot of our grandmas can make sweet potato pies that are equivalent ,if not possibly better, than Patti LaBelle’s pie,” Gates says. “People congregate around food. But this is the first time in a real way that the community — black people, or people of color — have communed around food via the Internet.” They’re “breaking bread” together, she says.\u003c/p>\n\u003cp>And to participate in that, Syreeta gates says, is a treat. It’s like Thanksgiving came early. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456395409/456395410\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Once+A+Hard+Sell%2C+Wal-Mart%27s+Patti+LaBelle+Pies+Fly+Off+Shelves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11090788/patti-labelle-pies-sell-out-after-youtube-video-goes-viral",
"authors": [
"byline_arts_11090788"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11090789",
"label": "arts_137"
},
"arts_11083088": {
"type": "posts",
"id": "arts_11083088",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11083088",
"score": null,
"sort": [
1447603232000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1447603232,
"format": "standard",
"title": "Circle Of Hope: How a Raw Reaction Became a Sign of Solidarity",
"headTitle": "Circle Of Hope: How a Raw Reaction Became a Sign of Solidarity | KQED",
"content": "\u003cp>In the aftermath of the coordinated terror attacks on Paris, people around the world have been taking to social media to share their grief and show support for the French people.\u003c/p>\n\u003cp>One image, in particular, has become a kind of icon of international solidarity: a simple, but powerful, black-and-white ink drawing of a peace sign — with the Eiffel Tower at its heart. The picture popped up online last night, and since then it has been shared, liked, tweeted and retweeted as people attempt to cope with the tragedy.\u003c/p>\n\u003cp>It has become known as the “Peace for Paris” symbol. And its creator, illustrator Jean Jullien, awoke Saturday morning to discover that it had gone viral.\u003c/p>\n\u003cp>“Last night I was about to go for dinner,” Jullien, who was out of the country at the time of the attacks, tells NPR’s Michel Martin. “I turned on the French radio. I heard that it was an attack, and my first reaction was to draw.”\u003c/p>\n\u003cp>What he produced ended up being raw, minimal and resonant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s this sort of moment where you don’t necessarily try to understand everything coherently. It’s more of a state of shock and sadness and anger and all these very sort of raw feelings. So for me, it’s just sort of trying to summarize these feelings in one image with my way of reacting,” Jullien says.\u003c/p>\n\u003cp>“I shared it online as a reaction, not really thought through at all.”\u003c/p>\n\u003cp>His original tweet has since been retweeted more than 49,000 times, and it has appeared on signs, memorials and even T-shirts in countries around the world — from Berlin to New Zealand. And, frankly, he says it has made him a little bit uncomfortable.\u003c/p>\n\u003cp>“You know, it’s putting me in a spotlight that I don’t necessarily want to be [in], because I don’t want to benefit from this exposure, in the sense that it’s a tragedy first and foremost,” Jullien tells Martin.\u003c/p>\n\u003cp>Still, despite his discomfort, Jullien says his work achieved what he’d hoped.\u003c/p>\n\u003cp>“The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. It seems that’s what most people got out of it. So in that sense, if it was useful for people to share and communicate their loss and need for peace, then that’s what it was meant to be.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456022682/456045309\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Circle+Of+Hope%3A+How+A+Raw+Reaction+Became+A+Sign+Of+Solidarity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 447,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705045943,
"excerpt": "When Jean Jullien learned of the Paris attacks, the French artist dashed off a pen-and-ink mash-up of the Eiffel Tower with a peace sign. That symbol has since become a worldwide icon of the tragedy.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When Jean Jullien learned of the Paris attacks, the French artist dashed off a pen-and-ink mash-up of the Eiffel Tower with a peace sign. That symbol has since become a worldwide icon of the tragedy.",
"title": "Circle Of Hope: How a Raw Reaction Became a Sign of Solidarity | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Circle Of Hope: How a Raw Reaction Became a Sign of Solidarity",
"datePublished": "2015-11-15T08:00:32-08:00",
"dateModified": "2024-01-11T23:52:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "circle-of-hope-how-a-raw-reaction-became-a-sign-of-solidarity",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=456022682&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff",
"nprStoryDate": "Sat, 14 Nov 2015 15:25:00 -0500",
"nprLastModifiedDate": "Sat, 14 Nov 2015 18:36:18 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/11/14/456022682/circle-of-hope-how-a-raw-reaction-became-a-sign-of-solidarity?ft=nprml&f=456022682",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/11/20151114_atc_circle_of_hope_how_a_raw_reaction_became_a_sign_of_solidarity.mp3?orgId=1&topicId=1047&d=152&p=2&story=456022682&t=progseg&e=456008547&seg=10&ft=nprml&f=456022682",
"nprAudioM3u": "http://api.npr.org/m3u/1456045309-ed9e23.m3u?orgId=1&topicId=1047&d=152&p=2&story=456022682&t=progseg&e=456008547&seg=10&ft=nprml&f=456022682",
"nprStoryId": "456022682",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 14 Nov 2015 18:36:00 -0500",
"path": "/arts/11083088/circle-of-hope-how-a-raw-reaction-became-a-sign-of-solidarity",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/11/20151114_atc_circle_of_hope_how_a_raw_reaction_became_a_sign_of_solidarity.mp3?orgId=1&topicId=1047&d=152&p=2&story=456022682&t=progseg&e=456008547&seg=10&ft=nprml&f=456022682",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the aftermath of the coordinated terror attacks on Paris, people around the world have been taking to social media to share their grief and show support for the French people.\u003c/p>\n\u003cp>One image, in particular, has become a kind of icon of international solidarity: a simple, but powerful, black-and-white ink drawing of a peace sign — with the Eiffel Tower at its heart. The picture popped up online last night, and since then it has been shared, liked, tweeted and retweeted as people attempt to cope with the tragedy.\u003c/p>\n\u003cp>It has become known as the “Peace for Paris” symbol. And its creator, illustrator Jean Jullien, awoke Saturday morning to discover that it had gone viral.\u003c/p>\n\u003cp>“Last night I was about to go for dinner,” Jullien, who was out of the country at the time of the attacks, tells NPR’s Michel Martin. “I turned on the French radio. I heard that it was an attack, and my first reaction was to draw.”\u003c/p>\n\u003cp>What he produced ended up being raw, minimal and resonant.\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 this sort of moment where you don’t necessarily try to understand everything coherently. It’s more of a state of shock and sadness and anger and all these very sort of raw feelings. So for me, it’s just sort of trying to summarize these feelings in one image with my way of reacting,” Jullien says.\u003c/p>\n\u003cp>“I shared it online as a reaction, not really thought through at all.”\u003c/p>\n\u003cp>His original tweet has since been retweeted more than 49,000 times, and it has appeared on signs, memorials and even T-shirts in countries around the world — from Berlin to New Zealand. And, frankly, he says it has made him a little bit uncomfortable.\u003c/p>\n\u003cp>“You know, it’s putting me in a spotlight that I don’t necessarily want to be [in], because I don’t want to benefit from this exposure, in the sense that it’s a tragedy first and foremost,” Jullien tells Martin.\u003c/p>\n\u003cp>Still, despite his discomfort, Jullien says his work achieved what he’d hoped.\u003c/p>\n\u003cp>“The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. It seems that’s what most people got out of it. So in that sense, if it was useful for people to share and communicate their loss and need for peace, then that’s what it was meant to be.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456022682/456045309\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Circle+Of+Hope%3A+How+A+Raw+Reaction+Became+A+Sign+Of+Solidarity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11083088/circle-of-hope-how-a-raw-reaction-became-a-sign-of-solidarity",
"authors": [
"byline_arts_11083088"
],
"categories": [
"arts_235",
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11083094",
"label": "arts_137"
},
"arts_11071730": {
"type": "posts",
"id": "arts_11071730",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11071730",
"score": null,
"sort": [
1447228821000
]
},
"guestAuthors": [],
"slug": "mystery-science-theater-3000-creator-raises-500k-toward-new-season",
"title": "'Mystery Science Theater 3000' Creator Raises $500K Toward New Season",
"publishDate": 1447228821,
"format": "standard",
"headTitle": "‘Mystery Science Theater 3000’ Creator Raises $500K Toward New Season | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Hours after launching a Kickstarter campaign to revive a TV show that made it fun to watch horrible movies, \u003cem>Mystery Science Theater 3000\u003c/em> creator Joel Hodgson has raised more than $500,000 — a quarter of his $2 million goal.\u003c/p>\n\u003cp>If the fundraising campaign is successful, the \u003cem>Mystery Science Theater\u003c/em> team could start a new run of up to 12 feature-length episodes next July, depending on the amount of donations over the next month.\u003c/p>\n\u003cp>From \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\" rel=\"noopener\">Hodgson’s Kickstarter pitch\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Our show has had a long, strange run. Across a UHF channel, a cable network, cancellation, a feature film, then another cable network, the show lasted for 12 years, two generations of hosts and puppeteers, 2 Emmy nominations and a total of 197 episodes before we got canceled again ‘for good’ in 1999. Sadly, it was just as Prince predicted.\u003c/p>\n\u003cp>“But maybe that’s not where it all ends.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Known as MST3K, Hodgson’s show was famous for riffing on anything that happened on screen, from an unusual name in a film’s credits to clunky dialogue or unlikely filmmaking choices.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nrlMibryPLY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Citing the rise of riffing among TV viewers, Hodgson says, “sometimes it feels good to just sit back and watch the original movie riffing team take a whack at it.”\u003c/p>\n\u003cp>The push for a new season comes two years after the folks behind \u003cem>Mystery Science Theater 3000\u003c/em> released a 25th-anniversary DVD set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On that occasion, here’s how \u003ca href=\"http://www.npr.org/sections/monkeysee/2013/11/27/247520996/about-mystery-science-theater-a-bold-declaration-its-bold\" target=\"_blank\" rel=\"noopener\">NPR’s Monkey See blog\u003c/a> explained the show’s premise:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Mystery Science Theater 3000\u003c/em> was early performative badmouthing of old movies, long before we had Twitter to make fun of \u003cem>Scandal.\u003c/em> The gimmick was that Joel had been shot into space with nothing but old movies to entertain him, so he built wisecracking robots out of spare parts and they all watched and mocked movies together. (It’s not as sophisticated as it sounds.)”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Mystery+Science+Theater+3000%27+Creator+Raises+%24500K+Toward+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Hours after launching a Kickstarter campaign to revive a TV show that made horrible movies enjoyable, \u003cem>Mystery Science Theater 3000\u003c/em> creator Joel Hodgson raised a quarter of his $2 million goal.",
"status": "publish",
"parent": 0,
"modified": 1726764012,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 351
},
"headData": {
"title": "'Mystery Science Theater 3000' Creator Raises $500K Toward New Season | KQED",
"description": "Hours after launching a Kickstarter campaign to revive a TV show that made horrible movies enjoyable, Mystery Science Theater 3000 creator Joel Hodgson raised a quarter of his $2 million goal.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Mystery Science Theater 3000' Creator Raises $500K Toward New Season",
"datePublished": "2015-11-11T00:00:21-08:00",
"dateModified": "2024-09-19T09:40:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bill Chappell",
"nprStoryId": "455518678",
"nprApiLink": "http://api.npr.org/query?id=455518678&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/11/10/455518678/-mystery-science-theater-3000-creator-raises-500k-toward-new-season?ft=nprml&f=455518678",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 10 Nov 2015 17:26:00 -0500",
"nprStoryDate": "Tue, 10 Nov 2015 17:06:00 -0500",
"nprLastModifiedDate": "Tue, 10 Nov 2015 17:26:23 -0500",
"path": "/arts/11071730/mystery-science-theater-3000-creator-raises-500k-toward-new-season",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hours after launching a Kickstarter campaign to revive a TV show that made it fun to watch horrible movies, \u003cem>Mystery Science Theater 3000\u003c/em> creator Joel Hodgson has raised more than $500,000 — a quarter of his $2 million goal.\u003c/p>\n\u003cp>If the fundraising campaign is successful, the \u003cem>Mystery Science Theater\u003c/em> team could start a new run of up to 12 feature-length episodes next July, depending on the amount of donations over the next month.\u003c/p>\n\u003cp>From \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\" rel=\"noopener\">Hodgson’s Kickstarter pitch\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Our show has had a long, strange run. Across a UHF channel, a cable network, cancellation, a feature film, then another cable network, the show lasted for 12 years, two generations of hosts and puppeteers, 2 Emmy nominations and a total of 197 episodes before we got canceled again ‘for good’ in 1999. Sadly, it was just as Prince predicted.\u003c/p>\n\u003cp>“But maybe that’s not where it all ends.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Known as MST3K, Hodgson’s show was famous for riffing on anything that happened on screen, from an unusual name in a film’s credits to clunky dialogue or unlikely filmmaking choices.\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/nrlMibryPLY'\n title='//www.youtube.com/embed/nrlMibryPLY'\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>Citing the rise of riffing among TV viewers, Hodgson says, “sometimes it feels good to just sit back and watch the original movie riffing team take a whack at it.”\u003c/p>\n\u003cp>The push for a new season comes two years after the folks behind \u003cem>Mystery Science Theater 3000\u003c/em> released a 25th-anniversary DVD set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On that occasion, here’s how \u003ca href=\"http://www.npr.org/sections/monkeysee/2013/11/27/247520996/about-mystery-science-theater-a-bold-declaration-its-bold\" target=\"_blank\" rel=\"noopener\">NPR’s Monkey See blog\u003c/a> explained the show’s premise:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Mystery Science Theater 3000\u003c/em> was early performative badmouthing of old movies, long before we had Twitter to make fun of \u003cem>Scandal.\u003c/em> The gimmick was that Joel had been shot into space with nothing but old movies to entertain him, so he built wisecracking robots out of spare parts and they all watched and mocked movies together. (It’s not as sophisticated as it sounds.)”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=%27Mystery+Science+Theater+3000%27+Creator+Raises+%24500K+Toward+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11071730/mystery-science-theater-3000-creator-raises-500k-toward-new-season",
"authors": [
"byline_arts_11071730"
],
"categories": [
"arts_968",
"arts_74",
"arts_75"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11071731",
"label": "arts_137"
},
"arts_11066082": {
"type": "posts",
"id": "arts_11066082",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11066082",
"score": null,
"sort": [
1447004371000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1447004371,
"format": "standard",
"title": "WATCH: Donald Trump is Called 'Racist' on SNL... But as Part of the Gag",
"headTitle": "WATCH: Donald Trump is Called ‘Racist’ on SNL… But as Part of the Gag | KQED",
"content": "\u003cp>Saturday Night Live acknowledged a group of \u003ca href=\"http://www.huffingtonpost.com/entry/donald-trump-nbc_563e9a49e4b0b24aee4a9836\" target=\"-blank\" rel=\"noopener\">protesters outside of its studios\u003c/a> with a bit of comedy last night.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/25/451322445/would-snl-have-donald-trump-as-host-if-it-had-latino-cast-members\" target=\"-blank\" rel=\"noopener\">As we’ve reported\u003c/a>, Latino activists had called on NBC to disinvite Donald Trump from hosting the late-night comedy show. They charged that Trump had shown himself to be a bigot \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"-blank\" rel=\"noopener\">when he denigrated Mexican immigrants\u003c/a>.\u003c/p>\n\u003cp>In the past, NBC reacted to those comments by dropping him as host of \u003cem>Celebrity Apprentice\u003c/em> and dropping Trump’s Miss USA and Miss Universe pageants.\u003c/p>\n\u003cp>But last night, Trump took the stage as planned. And NBC planted comedian Larry David to heckle him:\u003c/p>\n\u003cp>https://twitter.com/nbcsnl/status/663232455197851649\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joke, of course, is based on a offer by Deport Racism PAC that \u003ca href=\"http://deportracism.com/pages/media-information-xxxxxx\" target=\"_blank\" rel=\"noopener\">offered $5,000 in “cold hard cash”\u003c/a> to anyone who shouted “Trump is a racist” during the live broadcast.\u003c/p>\n\u003cp>On Twitter, the group said David had won the bounty: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/DeportRacism/status/663231776815386624\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=WATCH%3A+Donald+Trump+Is+Called+%27Racist%27+On+SNL...+But+As+Part+Of+The+Gag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 174,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705046008,
"excerpt": "Saturday Night Live acknowledged the protesters outside the studio by having comedian Larry David heckle Trump. David quipped that he heard activists were offering $5,000 for the heckle.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Saturday Night Live acknowledged the protesters outside the studio by having comedian Larry David heckle Trump. David quipped that he heard activists were offering $5,000 for the heckle.",
"title": "WATCH: Donald Trump is Called 'Racist' on SNL... But as Part of the Gag | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "WATCH: Donald Trump is Called 'Racist' on SNL... But as Part of the Gag",
"datePublished": "2015-11-08T09:39:31-08:00",
"dateModified": "2024-01-11T23:53:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-donald-trump-is-called-racist-on-snl-but-as-part-of-the-gag",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=455211313&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Eyder Peralta",
"nprStoryDate": "Sun, 08 Nov 2015 09:34:00 -0500",
"nprLastModifiedDate": "Sun, 08 Nov 2015 10:25:43 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/11/08/455211313/watch-donald-trump-is-called-racist-on-snl-but-as-part-of-the-gag?ft=nprml&f=455211313",
"nprStoryId": "455211313",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 08 Nov 2015 10:25:00 -0500",
"path": "/arts/11066082/watch-donald-trump-is-called-racist-on-snl-but-as-part-of-the-gag",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday Night Live acknowledged a group of \u003ca href=\"http://www.huffingtonpost.com/entry/donald-trump-nbc_563e9a49e4b0b24aee4a9836\" target=\"-blank\" rel=\"noopener\">protesters outside of its studios\u003c/a> with a bit of comedy last night.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/25/451322445/would-snl-have-donald-trump-as-host-if-it-had-latino-cast-members\" target=\"-blank\" rel=\"noopener\">As we’ve reported\u003c/a>, Latino activists had called on NBC to disinvite Donald Trump from hosting the late-night comedy show. They charged that Trump had shown himself to be a bigot \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"-blank\" rel=\"noopener\">when he denigrated Mexican immigrants\u003c/a>.\u003c/p>\n\u003cp>In the past, NBC reacted to those comments by dropping him as host of \u003cem>Celebrity Apprentice\u003c/em> and dropping Trump’s Miss USA and Miss Universe pageants.\u003c/p>\n\u003cp>But last night, Trump took the stage as planned. And NBC planted comedian Larry David to heckle him:\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "663232455197851649"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The joke, of course, is based on a offer by Deport Racism PAC that \u003ca href=\"http://deportracism.com/pages/media-information-xxxxxx\" target=\"_blank\" rel=\"noopener\">offered $5,000 in “cold hard cash”\u003c/a> to anyone who shouted “Trump is a racist” during the live broadcast.\u003c/p>\n\u003cp>On Twitter, the group said David had won the bounty: \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "663231776815386624"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=WATCH%3A+Donald+Trump+Is+Called+%27Racist%27+On+SNL...+But+As+Part+Of+The+Gag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11066082/watch-donald-trump-is-called-racist-on-snl-but-as-part-of-the-gag",
"authors": [
"byline_arts_11066082"
],
"categories": [
"arts_968",
"arts_990"
],
"tags": [
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11066083",
"label": "arts_137"
},
"arts_11060102": {
"type": "posts",
"id": "arts_11060102",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11060102",
"score": null,
"sort": [
1446822056000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1446822056,
"format": "standard",
"title": "In 'Spectre,' Bond's Back and Looking Over His Shoulder",
"headTitle": "In ‘Spectre,’ Bond’s Back and Looking Over His Shoulder | KQED",
"content": "\u003cp>\u003cem>Spectre\u003c/em> opens in Mexico City — a Day of the Dead festival in full swing — streets crowded with partying skeletons, and director Sam Mendes celebrating the dead in his own way with a nifty Orson Welles tribute: A \u003cem>Touch of Evil\u003c/em>-style tracking shot that has no obvious edits for at least five minutes as it follows Bond (Daniel Craig) and a gorgeous brunette (Stephanie Sigman) from the costumed parade route into a hotel, up in a crowded elevator to a well-appointed room where she settles seductively on a bed — only to watch him zip out onto a roof ledge with a quick shirt cuff adjustment, and murder on his mind.\u003c/p>\n\u003cp>At some point, the director starts cutting as 007 dispatches bad guys, collapses buildings, and wrestles with a villain in a suddenly pilotless, upside-down helicopter. As showoff-y starts go, this one ranks with the best in the series. And if the prize Bond is after — a ring with an octopus-y Spectre symbol — seems kind of minor for all that mayhem, it does lead nicely into the film’s titles, Sam Smith’s melody-challenged, but suitably sultry “Writing’s on the Wall” backed by gorgeous women writhing with octopus tentacles, bullets trailing inky jets. It’s everything a Bond fan could wish, and then some.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwZCrR72_6k\u003c/p>\n\u003cp>Which seems to be the operating aesthetic this time out: everything you could wish, and then some, for an epically overstuffed 2 hours and 28 minutes. Enough time to pack in a whole bunch of bad guys from pencil pushers to bodybuilders to Christoph Waltz, an extravagance of exotic locales, from Moroccan meteor craters to a Rome-the-eternal-city that feels like a racetrack with palazzos, and — of course — a bevy of beauties, who do what Bond beauties do.\u003c/p>\n\u003cp>Monica Belluci, whom Bond divests of widow’s weeds as he’s introducing himself as “Bond, James Bond,” is easily the most compelling (though she’s accorded the least screen time). Petulant, obstreperous shrink Léa Seydoux may be the least compelling (perhaps because she’s accorded the most screen time).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We are not, in other words, tilling a lot of new ground in \u003cem>Spectre\u003c/em>. In fact, the screenplay is pretty consciously tilling old ground, with shout-outs to all three of Craig’s 007 movies, and also to those of his predecessors, including a compartment-smashing fistfight on a train that echoes camera angles and even a couple of Sean Connery’s punches from \u003cem>From Russia With Love\u003c/em>. (For more on the shout-outs to earlier 007 exploits, check out my colleague Chris Klimek’s \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=453959502\" target=\"_blank\" rel=\"noopener\">ruminations\u003c/a>.)\u003c/p>\n\u003cp>There are hints that the filmmakers aren’t just going for nostalgia but would also like to be of the moment — talk of “smart blood,” drones and online surveillance to drive the plot — but none of it feels especially urgent, even when red digital readouts are counting down to imminent explosions.\u003c/p>\n\u003cp>It might feel more urgent if the writing were tighter. But I suppose if you have lots of villains, locales, homages and explosions, it’s only natural to have lots of words. Naomie Harris’ dutiful Miss Moneypenny, for instance, says early on, “You’ve got a secret” and should really leave it there. Instead she continues with “something you can’t tell anyone because you don’t trust anyone,” an explanation so unnecessary you half expect Bond to call her on it.\u003c/p>\n\u003cp>He, however, is too busy being tortured by Waltz, dressed down by new “M” Ralph Fiennes, dressed up by costumer Jany Temime in form-fitting formal wear, and put through his sharply staged and shot action-hero paces by the director.\u003c/p>\n\u003cp>They are familiar paces — how could they not be the two-dozenth time — updated for different cities, different women, different tuxes. And fans will doubtless find them pleasantly diverting, though even the most rabid will have to concede there’s been a falloff in emotional resonance since Bond’s last outing. In that one, this same director, star and writing team (augmented here by writer Jez Butterworth) managed to outfit the action with all sorts of feeling — feeling that made \u003cem>Skyfall\u003c/em> feel more substantial than most Bond pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which perhaps set expectations unreasonably high for this installment. It remains a decently robust and entertaining midlevel Bond movie — just one that’s haunted by the specter of its predecessor.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 783,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705046015,
"excerpt": "It's got the Bond cars, the Bond villain and the Bond girls, but it lacks the feeling of its predecessors.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's got the Bond cars, the Bond villain and the Bond girls, but it lacks the feeling of its predecessors.",
"title": "In 'Spectre,' Bond's Back and Looking Over His Shoulder | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 'Spectre,' Bond's Back and Looking Over His Shoulder",
"datePublished": "2015-11-06T07:00:56-08:00",
"dateModified": "2024-01-11T23:53:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-spectre-bonds-back-and-looking-over-his-shoulder",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=454865977&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Thu, 05 Nov 2015 17:05:00 -0500",
"nprLastModifiedDate": "Thu, 05 Nov 2015 19:55:24 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/11/05/454865977/in-spectre-bond-s-back-and-looking-over-his-shoulder?ft=nprml&f=454865977",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/11/20151105_atc_in_spectre_bonds_back_and_looking_over_his_shoulder.mp3?orgId=1&topicId=4467349&d=244&p=2&story=454865977&t=progseg&e=454907507&seg=5&ft=nprml&f=454865977",
"nprAudioM3u": "http://api.npr.org/m3u/1454907673-864342.m3u?orgId=1&topicId=4467349&d=244&p=2&story=454865977&t=progseg&e=454907507&seg=5&ft=nprml&f=454865977",
"nprStoryId": "454865977",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 05 Nov 2015 19:55:00 -0500",
"path": "/arts/11060102/in-spectre-bonds-back-and-looking-over-his-shoulder",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/11/20151105_atc_in_spectre_bonds_back_and_looking_over_his_shoulder.mp3?orgId=1&topicId=4467349&d=244&p=2&story=454865977&t=progseg&e=454907507&seg=5&ft=nprml&f=454865977",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Spectre\u003c/em> opens in Mexico City — a Day of the Dead festival in full swing — streets crowded with partying skeletons, and director Sam Mendes celebrating the dead in his own way with a nifty Orson Welles tribute: A \u003cem>Touch of Evil\u003c/em>-style tracking shot that has no obvious edits for at least five minutes as it follows Bond (Daniel Craig) and a gorgeous brunette (Stephanie Sigman) from the costumed parade route into a hotel, up in a crowded elevator to a well-appointed room where she settles seductively on a bed — only to watch him zip out onto a roof ledge with a quick shirt cuff adjustment, and murder on his mind.\u003c/p>\n\u003cp>At some point, the director starts cutting as 007 dispatches bad guys, collapses buildings, and wrestles with a villain in a suddenly pilotless, upside-down helicopter. As showoff-y starts go, this one ranks with the best in the series. And if the prize Bond is after — a ring with an octopus-y Spectre symbol — seems kind of minor for all that mayhem, it does lead nicely into the film’s titles, Sam Smith’s melody-challenged, but suitably sultry “Writing’s on the Wall” backed by gorgeous women writhing with octopus tentacles, bullets trailing inky jets. It’s everything a Bond fan could wish, and then some.\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/PwZCrR72_6k'\n title='//www.youtube.com/embed/PwZCrR72_6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which seems to be the operating aesthetic this time out: everything you could wish, and then some, for an epically overstuffed 2 hours and 28 minutes. Enough time to pack in a whole bunch of bad guys from pencil pushers to bodybuilders to Christoph Waltz, an extravagance of exotic locales, from Moroccan meteor craters to a Rome-the-eternal-city that feels like a racetrack with palazzos, and — of course — a bevy of beauties, who do what Bond beauties do.\u003c/p>\n\u003cp>Monica Belluci, whom Bond divests of widow’s weeds as he’s introducing himself as “Bond, James Bond,” is easily the most compelling (though she’s accorded the least screen time). Petulant, obstreperous shrink Léa Seydoux may be the least compelling (perhaps because she’s accorded the most screen time).\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 are not, in other words, tilling a lot of new ground in \u003cem>Spectre\u003c/em>. In fact, the screenplay is pretty consciously tilling old ground, with shout-outs to all three of Craig’s 007 movies, and also to those of his predecessors, including a compartment-smashing fistfight on a train that echoes camera angles and even a couple of Sean Connery’s punches from \u003cem>From Russia With Love\u003c/em>. (For more on the shout-outs to earlier 007 exploits, check out my colleague Chris Klimek’s \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=453959502\" target=\"_blank\" rel=\"noopener\">ruminations\u003c/a>.)\u003c/p>\n\u003cp>There are hints that the filmmakers aren’t just going for nostalgia but would also like to be of the moment — talk of “smart blood,” drones and online surveillance to drive the plot — but none of it feels especially urgent, even when red digital readouts are counting down to imminent explosions.\u003c/p>\n\u003cp>It might feel more urgent if the writing were tighter. But I suppose if you have lots of villains, locales, homages and explosions, it’s only natural to have lots of words. Naomie Harris’ dutiful Miss Moneypenny, for instance, says early on, “You’ve got a secret” and should really leave it there. Instead she continues with “something you can’t tell anyone because you don’t trust anyone,” an explanation so unnecessary you half expect Bond to call her on it.\u003c/p>\n\u003cp>He, however, is too busy being tortured by Waltz, dressed down by new “M” Ralph Fiennes, dressed up by costumer Jany Temime in form-fitting formal wear, and put through his sharply staged and shot action-hero paces by the director.\u003c/p>\n\u003cp>They are familiar paces — how could they not be the two-dozenth time — updated for different cities, different women, different tuxes. And fans will doubtless find them pleasantly diverting, though even the most rabid will have to concede there’s been a falloff in emotional resonance since Bond’s last outing. In that one, this same director, star and writing team (augmented here by writer Jez Butterworth) managed to outfit the action with all sorts of feeling — feeling that made \u003cem>Skyfall\u003c/em> feel more substantial than most Bond pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which perhaps set expectations unreasonably high for this installment. It remains a decently robust and entertaining midlevel Bond movie — just one that’s haunted by the specter of its predecessor.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11060102/in-spectre-bonds-back-and-looking-over-his-shoulder",
"authors": [
"byline_arts_11060102"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11060103",
"label": "arts_137"
},
"arts_11038641": {
"type": "posts",
"id": "arts_11038641",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11038641",
"score": null,
"sort": [
1446213610000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1446213610,
"format": "standard",
"title": "'Taxi': A Banned Filmmaker Works From The Road",
"headTitle": "‘Taxi’: A Banned Filmmaker Works From The Road | KQED",
"content": "\u003cp>The world’s most prolific banned filmmaker, Jafar Panahi has made three features since 2010, when the Iranian government officially prohibited him from working. The latest, \u003cem>Taxi\u003c/em>, is the friskiest and most expansive. Its relative sweep, though, must be understood in terms of Iranian art cinema, which has always emphasized the things it \u003cem>can’t\u003c/em> show.\u003c/p>\n\u003cp>After co-directing \u003cem>This Is Not a Film\u003c/em> and \u003cem>Closed Curtain\u003c/em>, which riffed on being under house arrest, Panahi takes to the street with \u003cem>Taxi\u003c/em>, in which he tools around Tehran, picking up passengers. Two cameras are mounted on the dashboard, a setup that initially suggests we’ll see random encounters. But it soon becomes clear that the passengers are playing roles scripted, or at least suggested, by the man who’s driving the narrative.\u003c/p>\n\u003cp>The movie is, in part, a playful tour of Panahi’s previous work. One of the film’s motifs is crime and punishment, recalling \u003cem>Crimson Gold\u003c/em>. Two older women enter the cab with a cargo of ritual goldfish, much like the younger protagonist of \u003cem>The White Balloon\u003c/em>. A human rights lawyer hops in, on her way to visit a woman who was arrested for attending a men’s athletic event, as did the heroine of \u003cem>Offside\u003c/em>. And Panahi gives a ride to a 10-year-old who is identified as his niece, Hana, and who resembles the willful little girls at the center of both \u003cem>The White Balloon\u003c/em> and \u003cem>The Mirror\u003c/em>.\u003c/p>\n\u003cp>Clearly, \u003cem>Taxi\u003c/em> was not designed for viewers unfamiliar with Panahi’s films. It also includes a few references that may mystify non-Iranians who’ve seen all the director’s movies. What’s the significance of the women’s urgent quest to release goldfish in a local spring before noon? It is, presumably, a tradition that Iranian viewers will recognize.\u003c/p>\n\u003cp>The movie’s other concerns are easier to understand, although of more interest to art-film devotees than action-flick fans. Panahi and mentor Abbas Kiarostami — who pioneered the car-bound tale with \u003cem>Ten\u003c/em> and \u003cem>A Taste Of Cherry\u003c/em>–— have always been careful to stage their stories in public places, where the constraints on Iranian women are evident. Privacy and intimacy are avoided, since they can’t be depicted authentically under Islamic censorship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Taxi\u003c/em> visualizes such restrictions through the use of fixed-position cameras. Panahi sometimes leaves the cab, but the image doesn’t follow him; viewers are left behind, stuck in the passenger seat.\u003c/p>\n\u003cp>Yet the director toys with this limitation by offering other perspectives. His cellphone includes a camera, which Panahi uses to record the last will and testament of a crash victim who fears he’s dying. (He clearly isn’t.) Hana also carries a camera, which she’s using to make a “distributable” short film. (Of Panahi’s movies, only \u003cem>The White Balloon\u003c/em> was approved for distribution in Iran.)\u003c/p>\n\u003cp>Hana reads the list of qualities, provided by her teacher, that make for an acceptable film, as her uncle grins. Among the requirements is to avoid portraying “sordid reality,” Hana explains — shortly before pointing her camera out the widow and capturing a boy’s small, but clearly sordid, act.\u003c/p>\n\u003cp>Another of \u003cem>Taxi\u003c/em>‘s passengers is a movie bootlegger who has all the latest American TV series and Asian art films. His vocation, he boasts, is “a cultural activity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the bootlegger’s clients, a film student, enters the cab and asks which illicit DVDs he should buy. “I think all movies are worth watching,” Panahi replies simply. What he doesn’t add is that’s because every movie is an insurrection, however small, against the authorities that would control what people are allowed to see.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 649,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705046067,
"excerpt": "Iranian filmmaker Jafar Panahi has continued to make films since being officially barred from doing so. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Iranian filmmaker Jafar Panahi has continued to make films since being officially barred from doing so. ",
"title": "'Taxi': A Banned Filmmaker Works From The Road | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Taxi': A Banned Filmmaker Works From The Road",
"datePublished": "2015-10-30T07:00:10-07:00",
"dateModified": "2024-01-11T23:54:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "taxi-a-banned-filmmaker-works-from-the-road",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=444742781&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 01 Oct 2015 17:08:42 -0400",
"nprLastModifiedDate": "Thu, 01 Oct 2015 17:08:42 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/01/444742781/taxi-a-banned-filmmaker-works-from-the-road?ft=nprml&f=444742781",
"nprStoryId": "444742781",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Oct 2015 17:08:00 -0400",
"path": "/arts/11038641/taxi-a-banned-filmmaker-works-from-the-road",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world’s most prolific banned filmmaker, Jafar Panahi has made three features since 2010, when the Iranian government officially prohibited him from working. The latest, \u003cem>Taxi\u003c/em>, is the friskiest and most expansive. Its relative sweep, though, must be understood in terms of Iranian art cinema, which has always emphasized the things it \u003cem>can’t\u003c/em> show.\u003c/p>\n\u003cp>After co-directing \u003cem>This Is Not a Film\u003c/em> and \u003cem>Closed Curtain\u003c/em>, which riffed on being under house arrest, Panahi takes to the street with \u003cem>Taxi\u003c/em>, in which he tools around Tehran, picking up passengers. Two cameras are mounted on the dashboard, a setup that initially suggests we’ll see random encounters. But it soon becomes clear that the passengers are playing roles scripted, or at least suggested, by the man who’s driving the narrative.\u003c/p>\n\u003cp>The movie is, in part, a playful tour of Panahi’s previous work. One of the film’s motifs is crime and punishment, recalling \u003cem>Crimson Gold\u003c/em>. Two older women enter the cab with a cargo of ritual goldfish, much like the younger protagonist of \u003cem>The White Balloon\u003c/em>. A human rights lawyer hops in, on her way to visit a woman who was arrested for attending a men’s athletic event, as did the heroine of \u003cem>Offside\u003c/em>. And Panahi gives a ride to a 10-year-old who is identified as his niece, Hana, and who resembles the willful little girls at the center of both \u003cem>The White Balloon\u003c/em> and \u003cem>The Mirror\u003c/em>.\u003c/p>\n\u003cp>Clearly, \u003cem>Taxi\u003c/em> was not designed for viewers unfamiliar with Panahi’s films. It also includes a few references that may mystify non-Iranians who’ve seen all the director’s movies. What’s the significance of the women’s urgent quest to release goldfish in a local spring before noon? It is, presumably, a tradition that Iranian viewers will recognize.\u003c/p>\n\u003cp>The movie’s other concerns are easier to understand, although of more interest to art-film devotees than action-flick fans. Panahi and mentor Abbas Kiarostami — who pioneered the car-bound tale with \u003cem>Ten\u003c/em> and \u003cem>A Taste Of Cherry\u003c/em>–— have always been careful to stage their stories in public places, where the constraints on Iranian women are evident. Privacy and intimacy are avoided, since they can’t be depicted authentically under Islamic censorship.\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>\u003cem>Taxi\u003c/em> visualizes such restrictions through the use of fixed-position cameras. Panahi sometimes leaves the cab, but the image doesn’t follow him; viewers are left behind, stuck in the passenger seat.\u003c/p>\n\u003cp>Yet the director toys with this limitation by offering other perspectives. His cellphone includes a camera, which Panahi uses to record the last will and testament of a crash victim who fears he’s dying. (He clearly isn’t.) Hana also carries a camera, which she’s using to make a “distributable” short film. (Of Panahi’s movies, only \u003cem>The White Balloon\u003c/em> was approved for distribution in Iran.)\u003c/p>\n\u003cp>Hana reads the list of qualities, provided by her teacher, that make for an acceptable film, as her uncle grins. Among the requirements is to avoid portraying “sordid reality,” Hana explains — shortly before pointing her camera out the widow and capturing a boy’s small, but clearly sordid, act.\u003c/p>\n\u003cp>Another of \u003cem>Taxi\u003c/em>‘s passengers is a movie bootlegger who has all the latest American TV series and Asian art films. His vocation, he boasts, is “a cultural activity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the bootlegger’s clients, a film student, enters the cab and asks which illicit DVDs he should buy. “I think all movies are worth watching,” Panahi replies simply. What he doesn’t add is that’s because every movie is an insurrection, however small, against the authorities that would control what people are allowed to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11038641/taxi-a-banned-filmmaker-works-from-the-road",
"authors": [
"byline_arts_11038641"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11038642",
"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": 2220,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_11132954",
"arts_11123074",
"arts_11111817",
"arts_11107065",
"arts_11102747",
"arts_11092188",
"arts_11090788",
"arts_11083088",
"arts_11071730",
"arts_11066082",
"arts_11060102",
"arts_11038641"
],
"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_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_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_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_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_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_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_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
}
},
"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
}
}
