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_11033216": {
"type": "attachments",
"id": "arts_11033216",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11033216",
"found": true
},
"parent": 11033215,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10.jpg",
"width": 3062,
"height": 2297
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-3064551-3b2ebe56ab8246105eb25c256a3e0c0e36357c10-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445763357,
"modified": 1445763357,
"caption": null,
"description": "Dame Shirley Bassey's \"Goldfinger\" isn't just the best-known James Bond theme: It's the standard by which all other Bond themes are measured.",
"title": "Dame Shirley Bassey's \"Goldfinger\" isn't just the best-known James Bond theme: It's the standard by which all other Bond themes are measured.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11033112": {
"type": "attachments",
"id": "arts_11033112",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11033112",
"found": true
},
"parent": 11033111,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8.jpg",
"width": 6000,
"height": 3374
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ron-nagle-6353_wide-c8540de73a6234b9bf75b8d01b49180b66c916f8-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445760926,
"modified": 1445760926,
"caption": null,
"description": "Ceramics artist Ron Nagle says his greatest gift is his sense of humor -- \"basically because I'm a melancholy person,\" he say",
"title": "Ceramics artist Ron Nagle says his greatest gift is his sense of humor -- \"basically because I'm a melancholy person,\" he says.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11028151": {
"type": "attachments",
"id": "arts_11028151",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11028151",
"found": true
},
"parent": 11028150,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5.jpg",
"width": 3658,
"height": 2058
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/2455_d018_00918r_crop_wide-adcedbfc1c379f6c03a1d96eb550dc4ac6b6d9b5-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445560473,
"modified": 1445560473,
"caption": null,
"description": "Aja (Hayley Kiyoko, from left), Jem (Aubrey Peeples) and Kimber (Stefanie Scott) in a scene from \u003cem>Jem and the Holograms\u003c/em>.",
"title": "Aja (Hayley Kiyoko, from left), Jem (Aubrey Peeples) and Kimber (Stefanie Scott) in a scene from Jem and the Holograms.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11023982": {
"type": "attachments",
"id": "arts_11023982",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11023982",
"found": true
},
"parent": 11023981,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d.jpg",
"width": 4392,
"height": 3294
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/back-to-the-future-2-27c06f9d271e02b5c17b2b544fa8675b5d626a0d-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445385523,
"modified": 1445385523,
"caption": null,
"description": "In \u003cem>Back to the Future Part II,\u003c/em> Marty McFly (Michael J. Fox) slips on his Nike sneakers and rides a Mattel hoverboard in front of a Texaco gas station.",
"title": "In Back to the Future Part II, Marty McFly (Michael J. Fox) slips on his Nike sneakers and rides a Mattel hoverboard in front of a Texaco gas station.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11019331": {
"type": "attachments",
"id": "arts_11019331",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11019331",
"found": true
},
"parent": 11019328,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/FuzzMAIN-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445185725,
"modified": 1445185744,
"caption": null,
"description": null,
"title": "FuzzMAIN",
"credit": "Denee Petracek",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11012026": {
"type": "attachments",
"id": "arts_11012026",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11012026",
"found": true
},
"parent": 11011943,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/1441726227_steve-jobs-trailer-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1444876591,
"modified": 1444876615,
"caption": "Michael Fassbender as Steve Jobs.",
"description": null,
"title": "1441726227_steve-jobs-trailer",
"credit": "Courtesy: Universal Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11009801": {
"type": "attachments",
"id": "arts_11009801",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11009801",
"found": true
},
"parent": 11009719,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN.jpg",
"width": 890,
"height": 501
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/ElvisCostelloMAIN-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1444778919,
"modified": 1444778964,
"caption": "Detail from the cover of Elvis Costello's new memoir, 'Unfaithful Music & Disappearing Ink.'",
"description": "Detail from the cover of Elvis Costello's new memoir, 'Unfaithful Music & Disappearing Ink.'",
"title": "ElvisCostelloMAIN",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11006566": {
"type": "attachments",
"id": "arts_11006566",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11006566",
"found": true
},
"parent": 11006565,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-400x261.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 261
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-960x626.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 626
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe.jpg",
"width": 5640,
"height": 3678
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-1180x770.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 770
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-800x522.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 522
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-1920x1252.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1252
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-1180x770.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 770
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-fisher-king-ted-on-the-first-day-of-trout-fishing-season-at-wistland-pond-devon-april-1986-nick-rogers-rex_custom-14a59f333041b45af701dd71ada4e5b7964536fe-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1444582277,
"modified": 1444582277,
"caption": null,
"description": "Poet Ted Hughes met Sylvia Plath 1956. \"They were both geniuses, says biographer Jonathan Bate. Hughes is shown above on the first day of trout fishing season in April 1986",
"title": "Poet Ted Hughes met Sylvia Plath 1956. \"They were both geniuses, says biographer Jonathan Bate. Hughes is shown above on the first day of trout fishing season in April 1986.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11001377": {
"type": "attachments",
"id": "arts_11001377",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11001377",
"found": true
},
"parent": 11001376,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-e1444242535549.jpg",
"width": 1920,
"height": 1078
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-1920x1078.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1078
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-walk-walk-pk-02_047_128_800_01_v120_1621_rv2_rgb_wide-46e75b4a79f002896bb060575e9ae9d971cd49bd-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1444242276,
"modified": 1444242665,
"caption": "'The Walk' dramatizes the French high-wire artist Philippe Petit's (Joseph Gordon-Levitt) 1974 walk between the Twin Towers of the World Trade Center.",
"description": null,
"title": "The Walk dramatizes the French high-wire artist Philippe Petit's (Joseph Gordon-Levitt) 1974 walk between the Twin Towers of the World Trade Center.",
"credit": "Photo: Sony Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11003395": {
"type": "attachments",
"id": "arts_11003395",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11003395",
"found": true
},
"parent": 11003385,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511.jpg",
"width": 4726,
"height": 3151
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/andygoldsworthy-ephemeraworks_p262a_slide-f028b3b0da5f226ac0c4e2ff9deec58d5df4a0511-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1444335359,
"modified": 1444335359,
"caption": null,
"description": "Alder branches form a bridge in a Dumfriesshire, Scotland, stream. (Jan. 17, 2014)",
"title": "Alder branches form a bridge in a Dumfriesshire, Scotland, stream. (Jan. 17, 2014)",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10999486": {
"type": "attachments",
"id": "arts_10999486",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10999486",
"found": true
},
"parent": 10999485,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249.jpg",
"width": 3292,
"height": 1851
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-491285292-93993653ef48f49664f4de26be9e266dc4bbd981-e1444158943249-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1444157193,
"modified": 1444158964,
"caption": "Patti Smith",
"description": "Patti Smith",
"title": "Patti Smith",
"credit": "Courtesy: NPR",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10998643": {
"type": "attachments",
"id": "arts_10998643",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10998643",
"found": true
},
"parent": 10998642,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa.jpg",
"width": 2664,
"height": 1998
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/american-apparel-7d68e269dad395a7c4ae8266bc42ac41ec79a2fa-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1444117050,
"modified": 1444117050,
"caption": null,
"description": "American Apparel has filed for Chapter 11 bankruptcy protection nearly a year after the ousting of founder and CEO Dov Charney.",
"title": "American Apparel has filed for Chapter 11 bankruptcy protection nearly a year after the ousting of founder and CEO Dov Charney.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_11033215": {
"type": "authors",
"id": "byline_arts_11033215",
"meta": {
"override": true
},
"slug": "byline_arts_11033215",
"name": "NPR Staff",
"isLoading": false
},
"byline_arts_11033111": {
"type": "authors",
"id": "byline_arts_11033111",
"meta": {
"override": true
},
"slug": "byline_arts_11033111",
"name": "Karen Michel",
"isLoading": false
},
"byline_arts_11028150": {
"type": "authors",
"id": "byline_arts_11028150",
"meta": {
"override": true
},
"slug": "byline_arts_11028150",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_11023981": {
"type": "authors",
"id": "byline_arts_11023981",
"meta": {
"override": true
},
"slug": "byline_arts_11023981",
"name": "Andrew Limbong",
"isLoading": false
},
"byline_arts_11019328": {
"type": "authors",
"id": "byline_arts_11019328",
"meta": {
"override": true
},
"slug": "byline_arts_11019328",
"name": "Doug Mosurock",
"isLoading": false
},
"byline_arts_11011943": {
"type": "authors",
"id": "byline_arts_11011943",
"meta": {
"override": true
},
"slug": "byline_arts_11011943",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_11009719": {
"type": "authors",
"id": "byline_arts_11009719",
"meta": {
"override": true
},
"slug": "byline_arts_11009719",
"name": "NPR Staff / Kelly McEvers",
"isLoading": false
},
"byline_arts_11006565": {
"type": "authors",
"id": "byline_arts_11006565",
"meta": {
"override": true
},
"slug": "byline_arts_11006565",
"name": "NPR Staff",
"isLoading": false
},
"byline_arts_11001376": {
"type": "authors",
"id": "byline_arts_11001376",
"meta": {
"override": true
},
"slug": "byline_arts_11001376",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_11003385": {
"type": "authors",
"id": "byline_arts_11003385",
"meta": {
"override": true
},
"slug": "byline_arts_11003385",
"name": "Fresh Air",
"isLoading": false
},
"byline_arts_10999485": {
"type": "authors",
"id": "byline_arts_10999485",
"meta": {
"override": true
},
"slug": "byline_arts_10999485",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_10998642": {
"type": "authors",
"id": "byline_arts_10998642",
"meta": {
"override": true
},
"slug": "byline_arts_10998642",
"name": "Brakkton Booker",
"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": 187
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 187
}
},
{
"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_11033215": {
"type": "posts",
"id": "arts_11033215",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11033215",
"score": null,
"sort": [
1445788802000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1445788802,
"format": "standard",
"title": "From Shirley Bassey to Sam Smith, Bond Songs Remain a Pop Oddity",
"headTitle": "From Shirley Bassey to Sam Smith, Bond Songs Remain a Pop Oddity | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450828660/451403477\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A new James Bond movie tends to mean a few things: a new villain, two new Bond girls (one of whom may or may not be painted gold), and — perhaps most dependably — a new song playing behind the opening credits. Fifty years of Bond films has left much music to be analyzed, and the Oxford University Press does just that in a new book called \u003cem>The James Bond Songs: Pop Anthems of Late Capitalism\u003c/em>.\u003c/p>\n\u003cp>NPR’s Scott Simon caught up with the two Stanford University professors who wrote the book: Adrian Daub, who teaches German Studies, and Charles Kronengold, who teaches music. Hear their conversation at the audio link, and read an edited version below.\u003c/p>\n\u003cp>\u003cstrong>Scott Simon: It seems fair to assert that \u003ca href=\"http://www.npr.org/artists/88186965/dame-shirley-bassey\" target=\"_blank\" rel=\"noopener\">Dame Shirley Bassey\u003c/a>‘s “Goldfinger” remains the best-known Bond theme. Did that song break the mold — or make the mold, I should say?\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11033220\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs-399x600.jpg\" alt='\"The James Bond Songs: Pop Anthems of Late Capitalism\" by Adrian Daub and Charles Kronengold' width=\"399\" height=\"600\" class=\"size-medium wp-image-11033220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The James Bond Songs:\u003cbr>Pop Anthems of Late Capitalism” by Adrian Daub and Charles Kronengold\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adrian Daub:\u003c/strong> It did. This is the song that everybody’s been trying to copy ever since, and it’s the standard that listeners hold these songs up to on whatever level of consciousness. You listen to a new song every two or three years, and on some level you ask, “Is this measuring up to what Shirley Bassey did with ‘Goldfinger’?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>One of the things you point out in this book is, some of the best-known recording artists of their time have done a James Bond song — and yet, if you do a greatest hits of that artist, that Bond song is not necessarily there. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Charles Kronengold:\u003c/strong> I think it’s because there are so many constraints put on you when you’re writing a Bond song, or singing a Bond song, that you have to feel yourself compromise — kind of pulled in two or three directions at once. I mean, if you’re a lyricist, having to use a ridiculous word like “Moonraker” or “Thunderball” is not going to make your life any easier or pleasanter. It’s not necessarily going to be your best work, so the records don’t necessarily add up.\u003c/p>\n\u003cp>\u003cstrong>Simon: The first Bond film to star Roger Moore, after the long reign of Sean Connery\u003c/strong>\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003cstrong>,\u003c/strong>\u003cstrong> is\u003c/strong>\u003cstrong> 1973’s \u003cem>\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Live and Let Die\u003c/em>\u003c/strong>\u003cstrong>\u003c/strong>\u003cstrong> — and the title theme is performed by \u003ca href=\"http://www.npr.org/artists/15158238/paul-mccartney\" target=\"_blank\" rel=\"noopener\">Paul McCartney\u003c/a>. Do you think there’s a little bit of composer autobiography in this song?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Yeah, I think it would have been hard to hear that in the mid-’70s — from someone who \u003cem>\u003c/em>\u003cem>used\u003c/em> to say, “Live and let live,” but the world around him changed — and not think of the man at the mic.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Kronengold:\u003c/strong> I mean, being an ex-\u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">Beatle\u003c/a> in 1973 is probably about as weird as being a James Bond who is \u003cem>\u003c/em>\u003cem>not\u003c/em> the guy who was James Bond 10 years earlier. This is Roger Moore, when people are just kind of getting used to the idea that Bond is going to somebody other than Sean Connery. And the idea that Paul McCartney is going to be still around, still making music, but not with The Beatles — what does that mean? Why does he even come to work? Why does he have to do this, and what’s the point of it? And the song brings that out in a really nice way.\u003c/p>\n\u003cp>\u003cstrong>Simon: What do you hear in the newest Bond theme, “Writing on the Wall” by \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\" rel=\"noopener\">Sam Smith\u003c/a>? Menace? Danger? Glamour?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kronengold:\u003c/strong> Well, not enough menace and danger for our taste. It seems like they forgot about the swagger and the bite that the best Bond songs have.\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> At the same time, there’s one part of it that we really like, and it seems to be the one that everyone else hates — which is when you get to the chorus. You know, a Bond song is supposed to play to the rafters; it’s supposed to yell out the word “Goldfinger” over and over and over again. And that’s the thing that Sam Smith, probably having listened back to the canon, decides not to do. The song builds to this amazing crescendo, and then just kind of ends with this whimper.\u003c/p>\n\u003cp>\u003cstrong>Simon: \u003c/strong>\u003cstrong>You say in the book that, in the end, Bond songs are perishable — and that’s OK.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Absolutely. A Bond song, from the very first, says, “I will be here. I will be all over the charts. People will be humming me in elevators or in their cars. And then, you’ll forget about me, and there’ll be another one in two years.” A pop song is supposed to stride on the scene with this sort of cocksure sense of, “This is all there is. This is all you should care about right now.” And Bond songs are very honest with us! They say, “I’m a product tie-in for a movie. Eventually you’ll forget about me, and that’s all right.” \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=From+Shirley+Bassey+To+Sam+Smith%2C+Bond+Songs+Remain+A+Pop+Oddity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 904,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705046103,
"excerpt": "Scott Simon speaks with the authors of a new book about the two dozen theme songs produced by the James Bond films, and what they say about the times in which they were written.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Scott Simon speaks with the authors of a new book about the two dozen theme songs produced by the James Bond films, and what they say about the times in which they were written.",
"title": "From Shirley Bassey to Sam Smith, Bond Songs Remain a Pop Oddity | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "From Shirley Bassey to Sam Smith, Bond Songs Remain a Pop Oddity",
"datePublished": "2015-10-25T09:00:02-07:00",
"dateModified": "2024-01-11T23:55:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "from-shirley-bassey-to-sam-smith-bond-songs-remain-a-pop-oddity",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=450828660&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff",
"nprStoryDate": "Sat, 24 Oct 2015 08:23:00 -0400",
"nprLastModifiedDate": "Sat, 24 Oct 2015 08:47:39 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/24/450828660/from-shirley-bassey-to-sam-smith-bond-songs-remain-a-pop-oddity?ft=nprml&f=450828660",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151024_wesat_from_shirley_bassey_to_sam_smith_bond_songs_remain_a_pop_oddity.mp3?orgId=1&topicId=1033&d=381&p=7&story=450828660&t=progseg&e=451381783&seg=8&ft=nprml&f=450828660",
"nprAudioM3u": "http://api.npr.org/m3u/1451403477-372404.m3u?orgId=1&topicId=1033&d=381&p=7&story=450828660&t=progseg&e=451381783&seg=8&ft=nprml&f=450828660",
"nprStoryId": "450828660",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 24 Oct 2015 11:04:00 -0400",
"path": "/arts/11033215/from-shirley-bassey-to-sam-smith-bond-songs-remain-a-pop-oddity",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151024_wesat_from_shirley_bassey_to_sam_smith_bond_songs_remain_a_pop_oddity.mp3?orgId=1&topicId=1033&d=381&p=7&story=450828660&t=progseg&e=451381783&seg=8&ft=nprml&f=450828660",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450828660/451403477\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A new James Bond movie tends to mean a few things: a new villain, two new Bond girls (one of whom may or may not be painted gold), and — perhaps most dependably — a new song playing behind the opening credits. Fifty years of Bond films has left much music to be analyzed, and the Oxford University Press does just that in a new book called \u003cem>The James Bond Songs: Pop Anthems of Late Capitalism\u003c/em>.\u003c/p>\n\u003cp>NPR’s Scott Simon caught up with the two Stanford University professors who wrote the book: Adrian Daub, who teaches German Studies, and Charles Kronengold, who teaches music. Hear their conversation at the audio link, and read an edited version below.\u003c/p>\n\u003cp>\u003cstrong>Scott Simon: It seems fair to assert that \u003ca href=\"http://www.npr.org/artists/88186965/dame-shirley-bassey\" target=\"_blank\" rel=\"noopener\">Dame Shirley Bassey\u003c/a>‘s “Goldfinger” remains the best-known Bond theme. Did that song break the mold — or make the mold, I should say?\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11033220\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs-399x600.jpg\" alt='\"The James Bond Songs: Pop Anthems of Late Capitalism\" by Adrian Daub and Charles Kronengold' width=\"399\" height=\"600\" class=\"size-medium wp-image-11033220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The James Bond Songs:\u003cbr>Pop Anthems of Late Capitalism” by Adrian Daub and Charles Kronengold\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adrian Daub:\u003c/strong> It did. This is the song that everybody’s been trying to copy ever since, and it’s the standard that listeners hold these songs up to on whatever level of consciousness. You listen to a new song every two or three years, and on some level you ask, “Is this measuring up to what Shirley Bassey did with ‘Goldfinger’?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>One of the things you point out in this book is, some of the best-known recording artists of their time have done a James Bond song — and yet, if you do a greatest hits of that artist, that Bond song is not necessarily there. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Charles Kronengold:\u003c/strong> I think it’s because there are so many constraints put on you when you’re writing a Bond song, or singing a Bond song, that you have to feel yourself compromise — kind of pulled in two or three directions at once. I mean, if you’re a lyricist, having to use a ridiculous word like “Moonraker” or “Thunderball” is not going to make your life any easier or pleasanter. It’s not necessarily going to be your best work, so the records don’t necessarily add up.\u003c/p>\n\u003cp>\u003cstrong>Simon: The first Bond film to star Roger Moore, after the long reign of Sean Connery\u003c/strong>\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003cstrong>,\u003c/strong>\u003cstrong> is\u003c/strong>\u003cstrong> 1973’s \u003cem>\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Live and Let Die\u003c/em>\u003c/strong>\u003cstrong>\u003c/strong>\u003cstrong> — and the title theme is performed by \u003ca href=\"http://www.npr.org/artists/15158238/paul-mccartney\" target=\"_blank\" rel=\"noopener\">Paul McCartney\u003c/a>. Do you think there’s a little bit of composer autobiography in this song?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Yeah, I think it would have been hard to hear that in the mid-’70s — from someone who \u003cem>\u003c/em>\u003cem>used\u003c/em> to say, “Live and let live,” but the world around him changed — and not think of the man at the mic.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Kronengold:\u003c/strong> I mean, being an ex-\u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">Beatle\u003c/a> in 1973 is probably about as weird as being a James Bond who is \u003cem>\u003c/em>\u003cem>not\u003c/em> the guy who was James Bond 10 years earlier. This is Roger Moore, when people are just kind of getting used to the idea that Bond is going to somebody other than Sean Connery. And the idea that Paul McCartney is going to be still around, still making music, but not with The Beatles — what does that mean? Why does he even come to work? Why does he have to do this, and what’s the point of it? And the song brings that out in a really nice way.\u003c/p>\n\u003cp>\u003cstrong>Simon: What do you hear in the newest Bond theme, “Writing on the Wall” by \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\" rel=\"noopener\">Sam Smith\u003c/a>? Menace? Danger? Glamour?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kronengold:\u003c/strong> Well, not enough menace and danger for our taste. It seems like they forgot about the swagger and the bite that the best Bond songs have.\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> At the same time, there’s one part of it that we really like, and it seems to be the one that everyone else hates — which is when you get to the chorus. You know, a Bond song is supposed to play to the rafters; it’s supposed to yell out the word “Goldfinger” over and over and over again. And that’s the thing that Sam Smith, probably having listened back to the canon, decides not to do. The song builds to this amazing crescendo, and then just kind of ends with this whimper.\u003c/p>\n\u003cp>\u003cstrong>Simon: \u003c/strong>\u003cstrong>You say in the book that, in the end, Bond songs are perishable — and that’s OK.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Absolutely. A Bond song, from the very first, says, “I will be here. I will be all over the charts. People will be humming me in elevators or in their cars. And then, you’ll forget about me, and there’ll be another one in two years.” A pop song is supposed to stride on the scene with this sort of cocksure sense of, “This is all there is. This is all you should care about right now.” And Bond songs are very honest with us! They say, “I’m a product tie-in for a movie. Eventually you’ll forget about me, and that’s all right.” \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=From+Shirley+Bassey+To+Sam+Smith%2C+Bond+Songs+Remain+A+Pop+Oddity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11033215/from-shirley-bassey-to-sam-smith-bond-songs-remain-a-pop-oddity",
"authors": [
"byline_arts_11033215"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11033216",
"label": "arts_137"
},
"arts_11033111": {
"type": "posts",
"id": "arts_11033111",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11033111",
"score": null,
"sort": [
1445785242000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1445785242,
"format": "standard",
"title": "Pottery Winner: An Artist's Dark, Funny Oeuvre Gets Major Show",
"headTitle": "Pottery Winner: An Artist’s Dark, Funny Oeuvre Gets Major Show | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/451176250/451403513\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Ron Nagle is a lot like his ceramics: compact, tidy, quirky — and colorful.\u003c/p>\n\u003cp>The longtime San Francisco artist, who has helped take clay to the heights of the contemporary art world, recently sported black pants, a blue-and-white striped T-shirt, white shoes, red socks and a rose-colored hat.\u003c/p>\n\u003cp>Around his neck hangs a long silver chain, filled with charms. There’s a heart, signifying Valentine’s day, the date he was married decades ago; an R for his first name; a skull representing death; a hare, Nagle’s sign in Chinese astrology.\u003c/p>\n\u003cp>“This is the most important,” he says, showing a slice of cheese. “It just means — well, you’ll get it later.”\u003c/p>\n\u003cfigure id=\"attachment_11033213\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg\" alt=\"Ron Nagle, <em>Handsome Drifter</em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Handsome Drifter\u003c/em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,. \u003ccite>(Courtesy Matthew Marks Gallery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nagle, 76, has pieces in the permanent collections of the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art and the Detroit Institute of the Arts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s also got a major New York show — \u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/\" target=\"_blank\" rel=\"noopener\">the biggest solo exhibition ever at New York City’s blue chip Mathew Marks Gallery\u003c/a> — and he’s part of a show at the Yale University Art Gallery.\u003c/p>\n\u003cp>On top of all that, Nagle is seeing a CD reissue of his 1970 solo record.\u003c/p>\n\u003cp>In one song, he laments, “Cheese now, there’s no time like the present — do I have to die to get it?” Now, his wait may be over.\u003c/p>\n\u003cp>Nagle’s band The Mystery Trend was an early part of the San Francisco rock scene in the mid-1960s. By the time Nagle recorded “Cheese Now,” the band had already broken up — Nagle wasn’t too keen on touring.\u003c/p>\n\u003cp>“I’d get homesick, even as a kid,” he says. “I’ve got a few neurotic quirks.”\u003c/p>\n\u003cp>Fortunately, he’d been interested in ceramics since he was a kid. He had received a degree in ceramics from San Francisco state, but knew there was more than the program offered.\u003c/p>\n\u003cp>“My mother had a ceramic club in the basement,” he says. “So all of those hobbyist techniques I eventually incorporated into my own work.”\u003c/p>\n\u003cp>Nagle’s distinctive work still uses the molds that he saw in his mom’s basement, and a bright palette like the paints he and his father used on model planes and cars.\u003c/p>\n\u003cp>Much like those models, the scale of Nagle’s work his scale is also small, as if they’re tiny, non-functional containers for bigger ideas.\u003c/p>\n\u003cp>“[They’re] kind of like bonsai, but with a kind of distinctive weirdness about it,” says Roberta Smith, a chief art critic at the \u003cem>New York Times\u003c/em>. “There’s all kinds of building. There’s different kinds of crafts and there’s different kinds of allusions to the body and its functions.”\u003c/p>\n\u003cp>Of the three dozen pieces in Nagle’s current exhibition at the Matthew Marks gallery in Manhattan, all are under 8 inches in any direction. The sculptures — no cups, no bowls — are multi-colored and multi textured: one pebbled, the other smooth, one mottled, the other slick. Thin, coral-like branches tilt atop a slab.\u003c/p>\n\u003cp>Nagle also combines clay with other materials, including something used by model makers: Magic Sculp, which doesn’t need to be fired.\u003c/p>\n\u003cp>“It’s more about the idea now,” Nagle says.\u003c/p>\n\u003cp>It’s definitely not his mother’s ceramics, says Roberta Smith.\u003c/p>\n\u003cp>“It’s very complicated what he does,” she says. “Sex … illusions … body … remember that piece, ‘\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/14/\" target=\"_blank\" rel=\"noopener\">Lotta Wattage\u003c/a>‘?”\u003c/p>\n\u003cp>Nagle is big on titles — not just “Lotta Wattage” but “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/23/\" target=\"_blank\" rel=\"noopener\">Centaur Of Attention\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/12/\" target=\"_blank\" rel=\"noopener\">Skin Grift\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/13/\" target=\"_blank\" rel=\"noopener\">Lamb Shank Redemption\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11033212\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg\" alt=\"Ron Nagle, <em>Boston Scrambler,</em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Boston Scrambler,\u003c/em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle. \u003ccite>(Courtesy Matthew Marks Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t see this in any egotistical way but I would say my greatest gift, more than music … is my sense of humor — basically because I’m a melancholy person,” he says.\u003c/p>\n\u003cp>That humor with a tinge of latent menace is also true of the music Nagle’s continued to make during his career. He’s also written songs for other artists, like Barbra Streisand, The Tubes and Michelle Phillips of the Mamas and the Papas.\u003c/p>\n\u003cp>But it’s Nagle’s sculptures that have earned him his widest audience, and now, a show in a major gallery — displaying the objects in special vitrines as if they were works of ancient pottery in the Metropolitan Museum of Art.\u003c/p>\n\u003cp>“This is the big deal, the top of the bucket list,” Nagle says. “What I’ve always wanted.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After decades of work, Nagle’s gotten his cheese. \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=Pottery+Winner%3A+An+Artist%27s+Dark%2C+Funny+Oeuvre+Gets+Major+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 897,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1705046105,
"excerpt": "Ceramics artist Ron Nagle uses unconventional materials and bright colors to make odd, miniature marvels with punderful titles. His work has helped make modern ceramics a star at art museums.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ceramics artist Ron Nagle uses unconventional materials and bright colors to make odd, miniature marvels with punderful titles. His work has helped make modern ceramics a star at art museums.",
"title": "Pottery Winner: An Artist's Dark, Funny Oeuvre Gets Major Show | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pottery Winner: An Artist's Dark, Funny Oeuvre Gets Major Show",
"datePublished": "2015-10-25T08:00:42-07:00",
"dateModified": "2024-01-11T23:55:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "pottery-winner-an-artists-dark-funny-oeuvre-gets-major-show",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=451176250&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Karen Michel",
"nprStoryDate": "Sat, 24 Oct 2015 10:27:00 -0400",
"nprLastModifiedDate": "Sat, 24 Oct 2015 12:35:22 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/24/451176250/pottery-winner-an-artists-dark-funny-ouevre-gets-major-show?ft=nprml&f=451176250",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151024_wesat_pottery_winner_an_artists_dark_funny_ouevre_gets_major_show.mp3?orgId=1&topicId=1141&d=283&p=7&story=451176250&t=progseg&e=451381783&seg=19&ft=nprml&f=451176250",
"nprAudioM3u": "http://api.npr.org/m3u/1451403513-9ae06e.m3u?orgId=1&topicId=1141&d=283&p=7&story=451176250&t=progseg&e=451381783&seg=19&ft=nprml&f=451176250",
"nprStoryId": "451176250",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 24 Oct 2015 12:35:00 -0400",
"path": "/arts/11033111/pottery-winner-an-artists-dark-funny-oeuvre-gets-major-show",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151024_wesat_pottery_winner_an_artists_dark_funny_ouevre_gets_major_show.mp3?orgId=1&topicId=1141&d=283&p=7&story=451176250&t=progseg&e=451381783&seg=19&ft=nprml&f=451176250",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/451176250/451403513\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Ron Nagle is a lot like his ceramics: compact, tidy, quirky — and colorful.\u003c/p>\n\u003cp>The longtime San Francisco artist, who has helped take clay to the heights of the contemporary art world, recently sported black pants, a blue-and-white striped T-shirt, white shoes, red socks and a rose-colored hat.\u003c/p>\n\u003cp>Around his neck hangs a long silver chain, filled with charms. There’s a heart, signifying Valentine’s day, the date he was married decades ago; an R for his first name; a skull representing death; a hare, Nagle’s sign in Chinese astrology.\u003c/p>\n\u003cp>“This is the most important,” he says, showing a slice of cheese. “It just means — well, you’ll get it later.”\u003c/p>\n\u003cfigure id=\"attachment_11033213\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg\" alt=\"Ron Nagle, <em>Handsome Drifter</em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Handsome Drifter\u003c/em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,. \u003ccite>(Courtesy Matthew Marks Gallery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nagle, 76, has pieces in the permanent collections of the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art and the Detroit Institute of the Arts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s also got a major New York show — \u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/\" target=\"_blank\" rel=\"noopener\">the biggest solo exhibition ever at New York City’s blue chip Mathew Marks Gallery\u003c/a> — and he’s part of a show at the Yale University Art Gallery.\u003c/p>\n\u003cp>On top of all that, Nagle is seeing a CD reissue of his 1970 solo record.\u003c/p>\n\u003cp>In one song, he laments, “Cheese now, there’s no time like the present — do I have to die to get it?” Now, his wait may be over.\u003c/p>\n\u003cp>Nagle’s band The Mystery Trend was an early part of the San Francisco rock scene in the mid-1960s. By the time Nagle recorded “Cheese Now,” the band had already broken up — Nagle wasn’t too keen on touring.\u003c/p>\n\u003cp>“I’d get homesick, even as a kid,” he says. “I’ve got a few neurotic quirks.”\u003c/p>\n\u003cp>Fortunately, he’d been interested in ceramics since he was a kid. He had received a degree in ceramics from San Francisco state, but knew there was more than the program offered.\u003c/p>\n\u003cp>“My mother had a ceramic club in the basement,” he says. “So all of those hobbyist techniques I eventually incorporated into my own work.”\u003c/p>\n\u003cp>Nagle’s distinctive work still uses the molds that he saw in his mom’s basement, and a bright palette like the paints he and his father used on model planes and cars.\u003c/p>\n\u003cp>Much like those models, the scale of Nagle’s work his scale is also small, as if they’re tiny, non-functional containers for bigger ideas.\u003c/p>\n\u003cp>“[They’re] kind of like bonsai, but with a kind of distinctive weirdness about it,” says Roberta Smith, a chief art critic at the \u003cem>New York Times\u003c/em>. “There’s all kinds of building. There’s different kinds of crafts and there’s different kinds of allusions to the body and its functions.”\u003c/p>\n\u003cp>Of the three dozen pieces in Nagle’s current exhibition at the Matthew Marks gallery in Manhattan, all are under 8 inches in any direction. The sculptures — no cups, no bowls — are multi-colored and multi textured: one pebbled, the other smooth, one mottled, the other slick. Thin, coral-like branches tilt atop a slab.\u003c/p>\n\u003cp>Nagle also combines clay with other materials, including something used by model makers: Magic Sculp, which doesn’t need to be fired.\u003c/p>\n\u003cp>“It’s more about the idea now,” Nagle says.\u003c/p>\n\u003cp>It’s definitely not his mother’s ceramics, says Roberta Smith.\u003c/p>\n\u003cp>“It’s very complicated what he does,” she says. “Sex … illusions … body … remember that piece, ‘\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/14/\" target=\"_blank\" rel=\"noopener\">Lotta Wattage\u003c/a>‘?”\u003c/p>\n\u003cp>Nagle is big on titles — not just “Lotta Wattage” but “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/23/\" target=\"_blank\" rel=\"noopener\">Centaur Of Attention\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/12/\" target=\"_blank\" rel=\"noopener\">Skin Grift\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/13/\" target=\"_blank\" rel=\"noopener\">Lamb Shank Redemption\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11033212\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg\" alt=\"Ron Nagle, <em>Boston Scrambler,</em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Boston Scrambler,\u003c/em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle. \u003ccite>(Courtesy Matthew Marks Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t see this in any egotistical way but I would say my greatest gift, more than music … is my sense of humor — basically because I’m a melancholy person,” he says.\u003c/p>\n\u003cp>That humor with a tinge of latent menace is also true of the music Nagle’s continued to make during his career. He’s also written songs for other artists, like Barbra Streisand, The Tubes and Michelle Phillips of the Mamas and the Papas.\u003c/p>\n\u003cp>But it’s Nagle’s sculptures that have earned him his widest audience, and now, a show in a major gallery — displaying the objects in special vitrines as if they were works of ancient pottery in the Metropolitan Museum of Art.\u003c/p>\n\u003cp>“This is the big deal, the top of the bucket list,” Nagle says. “What I’ve always wanted.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After decades of work, Nagle’s gotten his cheese. \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=Pottery+Winner%3A+An+Artist%27s+Dark%2C+Funny+Oeuvre+Gets+Major+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11033111/pottery-winner-an-artists-dark-funny-oeuvre-gets-major-show",
"authors": [
"byline_arts_11033111"
],
"categories": [
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11033112",
"label": "arts_137"
},
"arts_11028150": {
"type": "posts",
"id": "arts_11028150",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11028150",
"score": null,
"sort": [
1445612437000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1445612437,
"format": "standard",
"title": "Something is Happening on the Internet, and 'Jem' is Not Really on It",
"headTitle": "Something is Happening on the Internet, and ‘Jem’ is Not Really on It | KQED",
"content": "\u003cp>“Something’s happening on the internet,” yelps Kimber to her shy older sister Jerrica Benton, the instant pop sensation known as “Jem,” in the live-action version of Christy Marx’s mid-’80s cartoon staple \u003cem>Jem and the Holograms\u003c/em>. Kimber is delighting over an acoustic video gone viral, but the line aptly describes the modus operandi of the filmmakers, who are desperate to tap into the preteen zeitgeist but haven’t got a clue how to do it. From what they can gather, the internet is \u003ca href=\"https://en.wikipedia.org/wiki/Series_of_tubes\">a series of tubes\u003c/a>, connected by hashtag-dealing vloggers who will surely love the movie if they feel validated by it. The film is a cynical marketing plan set to music, as if director John M. Chu and his (all-male) producers and writer came away from \u003cem>Josie and the Pussycats\u003c/em> thinking Parker Posey’s music-biz CEO was the hero.\u003c/p>\n\u003cp>That’s not all \u003cem>Jem\u003c/em> takes from \u003cem>Josie\u003c/em>. Ryan Landels’ script lifts the premise almost beat for beat — teen musician becomes overnight sensation, signs a Faustian deal with a slick-talking label executive (Juliette Lewis in the Posey role), and loses her bandmates in a bid for solo stardom. But the film loses the catchy soundtrack, the candy-colored production design, and the satire on a culture geared toward turning kids into consumerist zombies. Few critics gave \u003cem>Josie\u003c/em> enough credit for cleverly subverting the teen-pop musical, but \u003cem>Jem\u003c/em> preys so rapaciously on its target demographic that it holds the virtues of the earlier film in sharp relief. \u003cem>Jem and the Holograms\u003c/em> is \u003cem>Mac and Me\u003c/em> to \u003cem>Josie and the Pussycats\u003c/em>‘ \u003cem>E.T.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pifhszsZKg4\u003c/p>\n\u003cp>Yet another in a \u003ca href=\"http://www.npr.org/2015/10/08/446354289/pan-asks-the-odd-question-what-happened-before-the-fun-started\">regrettable trend\u003c/a> of franchise-starting origin stories, \u003cem>Jem\u003c/em> follows Jerrica/Jem, her Instagram/YouTube-crazy sister Kimber, and their foster sisters Aja (Hayley Kiyoko) and Shana (Aurora Perrineau) on the fast track to musical fame. After Jerrica records a heartfelt song in her room — hiding her face under a pink wig and her identity under the \u003cem>nom de rock\u003c/em> Jem — Kimber secretly posts it online and it immediately attracts interest from Starlight Enterprises honcho Erica Raymond (Lewis). With Jerrica eager to make money to save her aunt and the quartet’s adoptive mother (Molly Ringwald) from foreclosure, she gets coerced into Raymond’s plan to make her a solo act.\u003c/p>\n\u003cp>That’s plenty of intrigue for one 90-minute confection, but \u003cem>Jem and the Holograms\u003c/em> is a full two hours and has much more tedious narrative business on the agenda. It would seem that Jerrica’s late father, an inventor, bequeathed to her a hologram-projecting robot named Synergy who won’t work until Jerrica finds three missing pieces, each hidden in a hard-to-access location. Her mission, should she choose to accept it, is to waste an hour of screen time following clues so her dad can appear like Obi-Wan Kenobi (or \u003ca href=\"https://www.youtube.com/watch?v=deoOTqT-SMI\">Will.I.Am\u003c/a>). Synergy has a critical role in Marx’s show — as does the rival band The Misfits, who are only teased for the wildly optimistic prospect of a sequel — but the bleeping robot does nothing that a simple letter couldn’t do. It’s just something to keep Jerrica and her friends busy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chu directed the Justin Bieber doc \u003cem>Never Say Never \u003c/em>— Bieber management svengali Scooter Braun co-produces here, too — and made the second and third \u003cem>Step Up\u003c/em> movies, and he attempts to find a choreography between Jem’s music and the homemade sounds of YouTube artists. But the overall effect is to sell teenagers on the lie that they’re creatively invested in this boondoggle — that they are “Jem” just as much as Jerrica is. In fact, \u003cem>Jem and the Holograms\u003c/em> is so committed to the concept that it \u003cem>looks\u003c/em> like an online video, washed out in a low-resolution gray that exposes its exceptionally modest $5 million budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something will definitely happen on the internet when the film hits theaters. Useful advice to the filmmakers: Don’t read the comments.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 706,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705046115,
"excerpt": "A live-action adaptation of the '80s cartoon wants desperately -- and fails -- to appeal to teenagers who live online.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A live-action adaptation of the '80s cartoon wants desperately -- and fails -- to appeal to teenagers who live online.",
"title": "Something is Happening on the Internet, and 'Jem' is Not Really on It | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Something is Happening on the Internet, and 'Jem' is Not Really on It",
"datePublished": "2015-10-23T08:00:37-07:00",
"dateModified": "2024-01-11T23:55:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "something-is-happening-on-the-internet-and-jem-is-not-really-on-it",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=450602635&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 22 Oct 2015 17:03:00 -0400",
"nprLastModifiedDate": "Thu, 22 Oct 2015 18:43:51 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/22/450602635/something-is-happening-on-the-internet-and-jem-is-not-really-on-it?ft=nprml&f=450602635",
"nprStoryId": "450602635",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 22 Oct 2015 18:43:00 -0400",
"path": "/arts/11028150/something-is-happening-on-the-internet-and-jem-is-not-really-on-it",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Something’s happening on the internet,” yelps Kimber to her shy older sister Jerrica Benton, the instant pop sensation known as “Jem,” in the live-action version of Christy Marx’s mid-’80s cartoon staple \u003cem>Jem and the Holograms\u003c/em>. Kimber is delighting over an acoustic video gone viral, but the line aptly describes the modus operandi of the filmmakers, who are desperate to tap into the preteen zeitgeist but haven’t got a clue how to do it. From what they can gather, the internet is \u003ca href=\"https://en.wikipedia.org/wiki/Series_of_tubes\">a series of tubes\u003c/a>, connected by hashtag-dealing vloggers who will surely love the movie if they feel validated by it. The film is a cynical marketing plan set to music, as if director John M. Chu and his (all-male) producers and writer came away from \u003cem>Josie and the Pussycats\u003c/em> thinking Parker Posey’s music-biz CEO was the hero.\u003c/p>\n\u003cp>That’s not all \u003cem>Jem\u003c/em> takes from \u003cem>Josie\u003c/em>. Ryan Landels’ script lifts the premise almost beat for beat — teen musician becomes overnight sensation, signs a Faustian deal with a slick-talking label executive (Juliette Lewis in the Posey role), and loses her bandmates in a bid for solo stardom. But the film loses the catchy soundtrack, the candy-colored production design, and the satire on a culture geared toward turning kids into consumerist zombies. Few critics gave \u003cem>Josie\u003c/em> enough credit for cleverly subverting the teen-pop musical, but \u003cem>Jem\u003c/em> preys so rapaciously on its target demographic that it holds the virtues of the earlier film in sharp relief. \u003cem>Jem and the Holograms\u003c/em> is \u003cem>Mac and Me\u003c/em> to \u003cem>Josie and the Pussycats\u003c/em>‘ \u003cem>E.T.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pifhszsZKg4'\n title='//www.youtube.com/embed/pifhszsZKg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet another in a \u003ca href=\"http://www.npr.org/2015/10/08/446354289/pan-asks-the-odd-question-what-happened-before-the-fun-started\">regrettable trend\u003c/a> of franchise-starting origin stories, \u003cem>Jem\u003c/em> follows Jerrica/Jem, her Instagram/YouTube-crazy sister Kimber, and their foster sisters Aja (Hayley Kiyoko) and Shana (Aurora Perrineau) on the fast track to musical fame. After Jerrica records a heartfelt song in her room — hiding her face under a pink wig and her identity under the \u003cem>nom de rock\u003c/em> Jem — Kimber secretly posts it online and it immediately attracts interest from Starlight Enterprises honcho Erica Raymond (Lewis). With Jerrica eager to make money to save her aunt and the quartet’s adoptive mother (Molly Ringwald) from foreclosure, she gets coerced into Raymond’s plan to make her a solo act.\u003c/p>\n\u003cp>That’s plenty of intrigue for one 90-minute confection, but \u003cem>Jem and the Holograms\u003c/em> is a full two hours and has much more tedious narrative business on the agenda. It would seem that Jerrica’s late father, an inventor, bequeathed to her a hologram-projecting robot named Synergy who won’t work until Jerrica finds three missing pieces, each hidden in a hard-to-access location. Her mission, should she choose to accept it, is to waste an hour of screen time following clues so her dad can appear like Obi-Wan Kenobi (or \u003ca href=\"https://www.youtube.com/watch?v=deoOTqT-SMI\">Will.I.Am\u003c/a>). Synergy has a critical role in Marx’s show — as does the rival band The Misfits, who are only teased for the wildly optimistic prospect of a sequel — but the bleeping robot does nothing that a simple letter couldn’t do. It’s just something to keep Jerrica and her friends busy.\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>Chu directed the Justin Bieber doc \u003cem>Never Say Never \u003c/em>— Bieber management svengali Scooter Braun co-produces here, too — and made the second and third \u003cem>Step Up\u003c/em> movies, and he attempts to find a choreography between Jem’s music and the homemade sounds of YouTube artists. But the overall effect is to sell teenagers on the lie that they’re creatively invested in this boondoggle — that they are “Jem” just as much as Jerrica is. In fact, \u003cem>Jem and the Holograms\u003c/em> is so committed to the concept that it \u003cem>looks\u003c/em> like an online video, washed out in a low-resolution gray that exposes its exceptionally modest $5 million budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something will definitely happen on the internet when the film hits theaters. Useful advice to the filmmakers: Don’t read the comments.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11028150/something-is-happening-on-the-internet-and-jem-is-not-really-on-it",
"authors": [
"byline_arts_11028150"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11028151",
"label": "arts_137"
},
"arts_11023981": {
"type": "posts",
"id": "arts_11023981",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11023981",
"score": null,
"sort": [
1445454048000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1445454048,
"format": "standard",
"title": "'Back To The Future Part 2': Designing a Future for 30 Years Ago",
"headTitle": "‘Back To The Future Part 2’: Designing a Future for 30 Years Ago | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450009076/450175933\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Today, some kid named Marty McFly will arrive (or already has) in a flying car.\u003c/p>\n\u003cp>Oct. 21, 2015, is when the first act of \u003cem>Back to the Future Part II\u003c/em> is set. In the sequel, Marty McFly goes forth and back in time, and complications ensue. It’s a 2015 that’s different from the one we know now — but not that different.\u003c/p>\n\u003cp>On one hand, in the movie, electric cars quietly hum around the streets. We’ve got those. A hologram for \u003cem>Jaws 19\u003c/em> pops out of a theater marquee and freaks Marty out. You can find holograms like that on the Atlantic City Boardwalk. When bad guy Griff gets arrested for wrecking the clock tower near the lake? A drone takes his picture for \u003cem>USA Today\u003c/em>. And the Chicago Cubs, in the \u003cem>Back to the Future\u003c/em> universe, win the World Series in 2015. As of right now, they can still make that happen.\u003c/p>\n\u003cp>Of course, there’s a lot of stuff that \u003cem>Back to the Future Part II\u003c/em> doesn’t get right. Our cars don’t fly. Our shoes don’t tie themselves. Our clothes don’t blow dry themselves, either. And what we call “hoverboards” today don’t really hover, if we’re going to be honest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what does a 1980s movie tell us about ourselves today in 2015? Does it say anything about how we got here?\u003c/p>\n\u003cp>Not really, according to Rick Carter. He was the production designer on the movie.\u003c/p>\n\u003cp>“It’s an attempt to stimulate in the time it was made. It wasn’t made for now.”\u003c/p>\n\u003cp>Carter’s got strong credits when it comes to time travel. He also worked on \u003cem>A.I. Artificial Intelligence,\u003c/em> \u003cem>Avatar\u003c/em> and the new \u003cem>Star Wars\u003c/em> movie.\u003c/p>\n\u003cp>Carter says time-travel stories are more about the time in which they were made. And what was big in the late ’80s when \u003cem>Back to the Future Part II\u003c/em> was made? Buying stuff.\u003c/p>\n\u003cp>“Not just product placement, but the branding of our culture,” says Carter. “This was no longer the hippie era where everything that was of corporations was being pushed to the side in terms of being hip or cool. It was a celebration of what the culture and the economy was creating.”\u003c/p>\n\u003cp>Like a hologram Ronald Reagan selling fast food.\u003c/p>\n\u003cp>It was, at least, a somewhat optimistic view of the future. More optimistic than, say, \u003cem>Blade Runner. \u003c/em>To Carter, creating the future wasn’t about predicting. It was about making the present seem better.\u003c/p>\n\u003cp>“That’s how we saw the holograms coming out of the movie theaters, or the litter bug that’s running around that’s positive, sweeping things up,” says Carter. “It was about projecting from a very exuberant sense we had at the time being young until now.”\u003c/p>\n\u003cp>That exuberance was tempered a bit, though. With some pointed jokes knocking nostalgia, the movie knew that the future wouldn’t be perfect. Or was it the past?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever. Nothing’s perfect. \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=%27Back+To+The+Future+Part+2%27%3A+Designing+A+Future+For+30+Years+Ago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 542,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705046134,
"excerpt": "In the classic movie 'Back to the Future Part II,' Michael J. Fox's Marty McFly travels forward 30 years to Oct. 21, 2015. Is life like the movie predicted? Maybe. But was it ever supposed to be?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In the classic movie 'Back to the Future Part II,' Michael J. Fox's Marty McFly travels forward 30 years to Oct. 21, 2015. Is life like the movie predicted? Maybe. But was it ever supposed to be?",
"title": "'Back To The Future Part 2': Designing a Future for 30 Years Ago | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Back To The Future Part 2': Designing a Future for 30 Years Ago",
"datePublished": "2015-10-21T12:00:48-07:00",
"dateModified": "2024-01-11T23:55:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "back-to-the-future-part-2-designing-a-future-for-30-years-ago",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=450009076&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Limbong",
"nprStoryDate": "Tue, 20 Oct 2015 05:00:00 -0400",
"nprLastModifiedDate": "Tue, 20 Oct 2015 14:02:30 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/20/450009076/back-to-the-future-part-2-designing-a-future-for-30-years-ago?ft=nprml&f=450009076",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2015/10/20151020_me_back_to_the_future_part_2_designing_a_future_for_30_years_ago.mp3?orgId=1&topicId=1045&d=230&p=3&story=450009076&t=progseg&e=450165313&seg=17&ft=nprml&f=450009076",
"nprAudioM3u": "http://api.npr.org/m3u/1450175933-9c506a.m3u?orgId=1&topicId=1045&d=230&p=3&story=450009076&t=progseg&e=450165313&seg=17&ft=nprml&f=450009076",
"nprStoryId": "450009076",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 20 Oct 2015 14:02:00 -0400",
"path": "/arts/11023981/back-to-the-future-part-2-designing-a-future-for-30-years-ago",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2015/10/20151020_me_back_to_the_future_part_2_designing_a_future_for_30_years_ago.mp3?orgId=1&topicId=1045&d=230&p=3&story=450009076&t=progseg&e=450165313&seg=17&ft=nprml&f=450009076",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450009076/450175933\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Today, some kid named Marty McFly will arrive (or already has) in a flying car.\u003c/p>\n\u003cp>Oct. 21, 2015, is when the first act of \u003cem>Back to the Future Part II\u003c/em> is set. In the sequel, Marty McFly goes forth and back in time, and complications ensue. It’s a 2015 that’s different from the one we know now — but not that different.\u003c/p>\n\u003cp>On one hand, in the movie, electric cars quietly hum around the streets. We’ve got those. A hologram for \u003cem>Jaws 19\u003c/em> pops out of a theater marquee and freaks Marty out. You can find holograms like that on the Atlantic City Boardwalk. When bad guy Griff gets arrested for wrecking the clock tower near the lake? A drone takes his picture for \u003cem>USA Today\u003c/em>. And the Chicago Cubs, in the \u003cem>Back to the Future\u003c/em> universe, win the World Series in 2015. As of right now, they can still make that happen.\u003c/p>\n\u003cp>Of course, there’s a lot of stuff that \u003cem>Back to the Future Part II\u003c/em> doesn’t get right. Our cars don’t fly. Our shoes don’t tie themselves. Our clothes don’t blow dry themselves, either. And what we call “hoverboards” today don’t really hover, if we’re going to be honest.\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>So what does a 1980s movie tell us about ourselves today in 2015? Does it say anything about how we got here?\u003c/p>\n\u003cp>Not really, according to Rick Carter. He was the production designer on the movie.\u003c/p>\n\u003cp>“It’s an attempt to stimulate in the time it was made. It wasn’t made for now.”\u003c/p>\n\u003cp>Carter’s got strong credits when it comes to time travel. He also worked on \u003cem>A.I. Artificial Intelligence,\u003c/em> \u003cem>Avatar\u003c/em> and the new \u003cem>Star Wars\u003c/em> movie.\u003c/p>\n\u003cp>Carter says time-travel stories are more about the time in which they were made. And what was big in the late ’80s when \u003cem>Back to the Future Part II\u003c/em> was made? Buying stuff.\u003c/p>\n\u003cp>“Not just product placement, but the branding of our culture,” says Carter. “This was no longer the hippie era where everything that was of corporations was being pushed to the side in terms of being hip or cool. It was a celebration of what the culture and the economy was creating.”\u003c/p>\n\u003cp>Like a hologram Ronald Reagan selling fast food.\u003c/p>\n\u003cp>It was, at least, a somewhat optimistic view of the future. More optimistic than, say, \u003cem>Blade Runner. \u003c/em>To Carter, creating the future wasn’t about predicting. It was about making the present seem better.\u003c/p>\n\u003cp>“That’s how we saw the holograms coming out of the movie theaters, or the litter bug that’s running around that’s positive, sweeping things up,” says Carter. “It was about projecting from a very exuberant sense we had at the time being young until now.”\u003c/p>\n\u003cp>That exuberance was tempered a bit, though. With some pointed jokes knocking nostalgia, the movie knew that the future wouldn’t be perfect. Or was it the past?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever. Nothing’s perfect. \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=%27Back+To+The+Future+Part+2%27%3A+Designing+A+Future+For+30+Years+Ago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11023981/back-to-the-future-part-2-designing-a-future-for-30-years-ago",
"authors": [
"byline_arts_11023981"
],
"categories": [
"arts_76",
"arts_74"
],
"tags": [
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11023982",
"label": "arts_137"
},
"arts_11019328": {
"type": "posts",
"id": "arts_11019328",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11019328",
"score": null,
"sort": [
1445187615000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1445187615,
"format": "standard",
"title": "Hear 'II,' the New Album from Ty Seagall's Fuzz",
"headTitle": "Hear ‘II,’ the New Album from Ty Seagall’s Fuzz | KQED",
"content": "\u003cp>If you didn’t know that \u003ca href=\"http://www.npr.org/artists/161430476/ty-segall\">Ty Segall\u003c/a> had spent a good chunk of 2015 on tour, you might think the prolific Bay Area garage-glam wunderkind had gone into hiding. Apart from a solo EP earlier this year, Segall’s efforts this year have mostly been behind the boards, as he’s produced records for Peacers and Birth Defects. With a new Fuzz album, though, Segall is back in the spotlight, playing drums with his power trio of guitarist Charlie Moothart (Moonhearts) and bassist Chad Ubovich (\u003ca href=\"http://www.npr.org/event/music/381570823/kexp-presents-meatbodies\">Meatbodies\u003c/a>). This time around, he heaves forth an impressive 14-song double album made for headbanging and the cultivation of bad vibes, as if all the warmth and goodwill of last year’s \u003cem>Manipulator\u003c/em> had turned to ash.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2015/10/14/444448267/first-listen-fuzz-ii\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>Listen to Fuzz’s ‘II’ at NPR.\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Once again, Segall and his cohorts are ushered out of the garage; this is music meant to be played at a volume walls can’t contain. Fuzz’s namesake is no joke, either — this is proto-metal, anvil-head blues-rock, thick like cement about to harden. \u003cem>II\u003c/em> vacillates between blunt-force heaviness and a slightly trippier variant, but the pall of doom is cast all over it, making it Segall’s darkest record in a good long time. He’s got an athletic presence on the drums, with a pingy snare sound that captures how hard he hits, but his faux-Brit glam vocals can’t mask the darkness as he brings to mind a young \u003ca href=\"http://www.npr.org/artists/124120879/ozzy-osbourne\">Ozzy Osbourne\u003c/a>. “Bringer Of Light” and “Pipe” sound like they should be reverberating across a Hammer horror castle in the chill of late November, as Moothart and Ubovich flex their instrumental muscle, sounding for all the world like a diesel freighter downshifting.\u003c/p>\n\u003cp>Still, Fuzz recognizes the powers of restraint. Follow the 14-minute title track to its core, and instead of meandering off into drum solos and other diversions, the three simply opt to get low. The riffs are still there, of course, but this time they’re engineered to pull you into the shadows. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 364,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705046159,
"excerpt": "Ty Segall's power trio heaves forth a 14-song double album that's made for headbanging and the cultivation of bad vibes, as if all the warmth and goodwill of last year's 'Manipulator' had turned to ash.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ty Segall's power trio heaves forth a 14-song double album that's made for headbanging and the cultivation of bad vibes, as if all the warmth and goodwill of last year's 'Manipulator' had turned to ash.",
"title": "Hear 'II,' the New Album from Ty Seagall's Fuzz | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hear 'II,' the New Album from Ty Seagall's Fuzz",
"datePublished": "2015-10-18T10:00:15-07:00",
"dateModified": "2024-01-11T23:55:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hear-ii-the-new-album-from-ty-seagalls-fuzz",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=444448267&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Doug Mosurock",
"nprStoryDate": "Wed, 14 Oct 2015 23:03:45 -0400",
"nprLastModifiedDate": "Wed, 14 Oct 2015 23:03:45 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/14/444448267/first-listen-fuzz-ii?ft=nprml&f=444448267",
"nprStoryId": "444448267",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 14 Oct 2015 23:03:00 -0400",
"path": "/arts/11019328/hear-ii-the-new-album-from-ty-seagalls-fuzz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you didn’t know that \u003ca href=\"http://www.npr.org/artists/161430476/ty-segall\">Ty Segall\u003c/a> had spent a good chunk of 2015 on tour, you might think the prolific Bay Area garage-glam wunderkind had gone into hiding. Apart from a solo EP earlier this year, Segall’s efforts this year have mostly been behind the boards, as he’s produced records for Peacers and Birth Defects. With a new Fuzz album, though, Segall is back in the spotlight, playing drums with his power trio of guitarist Charlie Moothart (Moonhearts) and bassist Chad Ubovich (\u003ca href=\"http://www.npr.org/event/music/381570823/kexp-presents-meatbodies\">Meatbodies\u003c/a>). This time around, he heaves forth an impressive 14-song double album made for headbanging and the cultivation of bad vibes, as if all the warmth and goodwill of last year’s \u003cem>Manipulator\u003c/em> had turned to ash.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2015/10/14/444448267/first-listen-fuzz-ii\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>Listen to Fuzz’s ‘II’ at NPR.\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Once again, Segall and his cohorts are ushered out of the garage; this is music meant to be played at a volume walls can’t contain. Fuzz’s namesake is no joke, either — this is proto-metal, anvil-head blues-rock, thick like cement about to harden. \u003cem>II\u003c/em> vacillates between blunt-force heaviness and a slightly trippier variant, but the pall of doom is cast all over it, making it Segall’s darkest record in a good long time. He’s got an athletic presence on the drums, with a pingy snare sound that captures how hard he hits, but his faux-Brit glam vocals can’t mask the darkness as he brings to mind a young \u003ca href=\"http://www.npr.org/artists/124120879/ozzy-osbourne\">Ozzy Osbourne\u003c/a>. “Bringer Of Light” and “Pipe” sound like they should be reverberating across a Hammer horror castle in the chill of late November, as Moothart and Ubovich flex their instrumental muscle, sounding for all the world like a diesel freighter downshifting.\u003c/p>\n\u003cp>Still, Fuzz recognizes the powers of restraint. Follow the 14-minute title track to its core, and instead of meandering off into drum solos and other diversions, the three simply opt to get low. The riffs are still there, of course, but this time they’re engineered to pull you into the shadows. \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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11019328/hear-ii-the-new-album-from-ty-seagalls-fuzz",
"authors": [
"byline_arts_11019328"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11019331",
"label": "arts_137"
},
"arts_11011943": {
"type": "posts",
"id": "arts_11011943",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11011943",
"score": null,
"sort": [
1445007610000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1445007610,
"format": "standard",
"title": "'Steve Jobs': As Ambitious As Its Title Character",
"headTitle": "‘Steve Jobs’: As Ambitious As Its Title Character | KQED",
"content": "\u003cp>You may feel you’ve been here before: the story of a man who uses technology to bring millions of people together, but who can’t seem to figure out how to connect with the people who are actually around him.\u003c/p>\n\u003cp>Screenwriter Aaron Sorkin told that story a few years back in his script for the Facebook movie, \u003cem>The Social Network\u003c/em>. Now, in \u003cem>Steve Jobs,\u003c/em> he’s got a strikingly different, equally riveting take centered on the guy who put music in your pocket and gave the world a personal computer that said “Hello” — ideas that sounded crazy back when most of what computers did was make spreadsheets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aEr6K1bwIVs\u003c/p>\n\u003cp>The film begins with a 1974 video clip, not of the title character but of sci-fi author Arthur C. Clarke, speaking in a room dominated by an enormous industrial computer, about a then almost inconceivable future when average Joes would have computers in their own homes. He has to convince a skeptical interviewer that this might possibly be a good thing.\u003c/p>\n\u003cp>That year, a 19-year-old Jobs would’ve been planning a trip to India to study Buddhism, but in the next shot, we meet him a decade later, as he’s about to unveil the Macintosh personal computer to an audience whose appetite has been whetted by an Orwellian Ridley Scott commercial titled simply “1984.” The commercial, which aired during the Super Bowl, didn’t show the product, because the product wasn’t ready yet. And as Jobs, played with ferocious intensity by Michael Fassbender, stands backstage, preparing to introduce it, it still isn’t. For some reason, it won’t say “Hello.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So he’s badgering, insisting, cajoling, threatening — doing whatever it takes to get his tech team, led by a panicked Andy Hertzfeld (Michael Stuhlbarg) to promise the Mac will talk on cue.\u003c/p>\n\u003cp>How he earns the loyalty of people who look to him for approval and never, ever get it is at once the crux of the film and its great mystery. There’s Apple co-founder Steve Wozniak, played explosively by Seth Rogen, who notes that Jobs can’t write code, isn’t an engineer or a designer, and is still being described in the press as a “genius.”\u003c/p>\n\u003cp>“What do you do?” he asks in exasperation.\u003c/p>\n\u003cp>And Woz is hardly the only person Jobs ticks off. There’s the mother (Katherine Waterston) of a daughter (Makenzie Moss, then Perla Haney-Jardine) he refuses to acknowledge; the marketer/right-hand/conscience who enables him (Kate Winslet); the multitude of hangers-on who have to make things actually work… hard feelings, every step of the way\u003c/p>\n\u003cp>Sorkin and director Danny Boyle give the story a three-act structure — each act playing out in real time — all of it crisis time in the half-hour or so just before three of those product launches Jobs was so famously good at. First the original Mac. Then the attention-getting but wildly overpriced NeXT CUBE in 1988 after Jobs had been fired from Apple by John Sculley (Jeff Daniels), the former Pepsi exec he’d helped install as CEO. And finally, in 1998, after Apple had hired him back, he premieres the egg-shape iMac that would set the company on its industry-dominating path.\u003c/p>\n\u003cp>The film’s tension comes partly from a raft of terrific performances — everyone’s good, and Fassbender’s stellar — and partly from juxtaposing Jobs’ public and private personas. He could make cheering audiences believe he was changing the world, but backstage… not so much.\u003c/p>\n\u003cp>If you have a sharp eye, you’ll note a difference in texture as the film moves through these three launches. Boyle shoots the first section in 16 millimeter, the second in considerably less grainy 35 millimeter, the third in glossy, crystalline high-def — a visual echo for the technical advances Jobs is talking so passionately about. And talking, and talking in Sorkin’s hard-charging, superarticulate, somehow still emotionally resonant way.\u003c/p>\n\u003cp>The film feels so electric while you’re watching, it’s hard to believe that after two hours, it doesn’t even get to the iPod, let alone the iPhone. Maybe they’re leaving themselves room for \u003cem>Steve Jobs 2\u003c/em>? Or rather, \u003cem>Steve Jobs\u003c/em>… what would the Apple folks call it? Yosemite and El Capitan are their operating systems. Maybe \u003cem>Steve Jobs Half Dome\u003c/em>. They’ll announce it but it won’t be available for a year. And it’ll cost an extra $100. And the ticket’ll require a new adapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And we’ll all — millions of us — line up, happily, to buy it.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 828,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705046168,
"excerpt": "Danny Boyle's new biopic is an invigorating story told in three acts of crisis.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Danny Boyle's new biopic is an invigorating story told in three acts of crisis.",
"title": "'Steve Jobs': As Ambitious As Its Title Character | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Steve Jobs': As Ambitious As Its Title Character",
"datePublished": "2015-10-16T08:00:10-07:00",
"dateModified": "2024-01-11T23:56:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "steve-jobs-as-ambitious-as-its-title-character",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=447157569&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Fri, 09 Oct 2015 16:17:00 -0400",
"nprLastModifiedDate": "Sat, 10 Oct 2015 00:49:57 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/09/447157569/steve-jobs-as-ambitious-as-its-title-character?ft=nprml&f=447157569",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/10/20151009_atc_steve_jobs_as_ambitious_as_its_title_character.mp3?orgId=1&topicId=4467349&d=278&p=2&story=447157569&t=progseg&e=447117209&seg=19&ft=nprml&f=447157569",
"nprAudioM3u": "http://api.npr.org/m3u/1447236661-da4a3a.m3u?orgId=1&topicId=4467349&d=278&p=2&story=447157569&t=progseg&e=447117209&seg=19&ft=nprml&f=447157569",
"nprStoryId": "447157569",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 10 Oct 2015 00:49:00 -0400",
"path": "/arts/11011943/steve-jobs-as-ambitious-as-its-title-character",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/10/20151009_atc_steve_jobs_as_ambitious_as_its_title_character.mp3?orgId=1&topicId=4467349&d=278&p=2&story=447157569&t=progseg&e=447117209&seg=19&ft=nprml&f=447157569",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may feel you’ve been here before: the story of a man who uses technology to bring millions of people together, but who can’t seem to figure out how to connect with the people who are actually around him.\u003c/p>\n\u003cp>Screenwriter Aaron Sorkin told that story a few years back in his script for the Facebook movie, \u003cem>The Social Network\u003c/em>. Now, in \u003cem>Steve Jobs,\u003c/em> he’s got a strikingly different, equally riveting take centered on the guy who put music in your pocket and gave the world a personal computer that said “Hello” — ideas that sounded crazy back when most of what computers did was make spreadsheets.\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/aEr6K1bwIVs'\n title='//www.youtube.com/embed/aEr6K1bwIVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film begins with a 1974 video clip, not of the title character but of sci-fi author Arthur C. Clarke, speaking in a room dominated by an enormous industrial computer, about a then almost inconceivable future when average Joes would have computers in their own homes. He has to convince a skeptical interviewer that this might possibly be a good thing.\u003c/p>\n\u003cp>That year, a 19-year-old Jobs would’ve been planning a trip to India to study Buddhism, but in the next shot, we meet him a decade later, as he’s about to unveil the Macintosh personal computer to an audience whose appetite has been whetted by an Orwellian Ridley Scott commercial titled simply “1984.” The commercial, which aired during the Super Bowl, didn’t show the product, because the product wasn’t ready yet. And as Jobs, played with ferocious intensity by Michael Fassbender, stands backstage, preparing to introduce it, it still isn’t. For some reason, it won’t say “Hello.”\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>So he’s badgering, insisting, cajoling, threatening — doing whatever it takes to get his tech team, led by a panicked Andy Hertzfeld (Michael Stuhlbarg) to promise the Mac will talk on cue.\u003c/p>\n\u003cp>How he earns the loyalty of people who look to him for approval and never, ever get it is at once the crux of the film and its great mystery. There’s Apple co-founder Steve Wozniak, played explosively by Seth Rogen, who notes that Jobs can’t write code, isn’t an engineer or a designer, and is still being described in the press as a “genius.”\u003c/p>\n\u003cp>“What do you do?” he asks in exasperation.\u003c/p>\n\u003cp>And Woz is hardly the only person Jobs ticks off. There’s the mother (Katherine Waterston) of a daughter (Makenzie Moss, then Perla Haney-Jardine) he refuses to acknowledge; the marketer/right-hand/conscience who enables him (Kate Winslet); the multitude of hangers-on who have to make things actually work… hard feelings, every step of the way\u003c/p>\n\u003cp>Sorkin and director Danny Boyle give the story a three-act structure — each act playing out in real time — all of it crisis time in the half-hour or so just before three of those product launches Jobs was so famously good at. First the original Mac. Then the attention-getting but wildly overpriced NeXT CUBE in 1988 after Jobs had been fired from Apple by John Sculley (Jeff Daniels), the former Pepsi exec he’d helped install as CEO. And finally, in 1998, after Apple had hired him back, he premieres the egg-shape iMac that would set the company on its industry-dominating path.\u003c/p>\n\u003cp>The film’s tension comes partly from a raft of terrific performances — everyone’s good, and Fassbender’s stellar — and partly from juxtaposing Jobs’ public and private personas. He could make cheering audiences believe he was changing the world, but backstage… not so much.\u003c/p>\n\u003cp>If you have a sharp eye, you’ll note a difference in texture as the film moves through these three launches. Boyle shoots the first section in 16 millimeter, the second in considerably less grainy 35 millimeter, the third in glossy, crystalline high-def — a visual echo for the technical advances Jobs is talking so passionately about. And talking, and talking in Sorkin’s hard-charging, superarticulate, somehow still emotionally resonant way.\u003c/p>\n\u003cp>The film feels so electric while you’re watching, it’s hard to believe that after two hours, it doesn’t even get to the iPod, let alone the iPhone. Maybe they’re leaving themselves room for \u003cem>Steve Jobs 2\u003c/em>? Or rather, \u003cem>Steve Jobs\u003c/em>… what would the Apple folks call it? Yosemite and El Capitan are their operating systems. Maybe \u003cem>Steve Jobs Half Dome\u003c/em>. They’ll announce it but it won’t be available for a year. And it’ll cost an extra $100. And the ticket’ll require a new adapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And we’ll all — millions of us — line up, happily, to buy it.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11011943/steve-jobs-as-ambitious-as-its-title-character",
"authors": [
"byline_arts_11011943"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11012026",
"label": "arts_137"
},
"arts_11009719": {
"type": "posts",
"id": "arts_11009719",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11009719",
"score": null,
"sort": [
1444860033000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1444860033,
"format": "standard",
"title": "Elvis Costello: 'There Is No Absolute Right And Wrong About Music'",
"headTitle": "Elvis Costello: ‘There Is No Absolute Right And Wrong About Music’ | KQED",
"content": "\u003cp>When Declan Patrick MacManus was just 7, his father — a musician of Irish descent, with thick glasses and tousled black hair — left home. The boy grew up to be \u003ca href=\"http://www.npr.org/artists/15045892/elvis-costello\">Elvis Costello\u003c/a>, and throughout his career-spanning 674-page memoir, \u003cem>Unfaithful Music & Disappearing Ink,\u003c/em> the singer-songwriter grapples with that relationship and the parallels in their lives.\u003c/p>\n\u003cp>Costello and NPR’s Kelly McEvers recently discussed those familial similarities, the gap in his teeth and why Lorne Michaels will probably take the truth of Costello’s infamous \u003cem>Saturday Night Live\u003c/em> performance to his grave.\u003c/p>\n\u003cp>\u003cstrong>Both you and your dad wear glasses. At one point, you’re wearing the same kind of boots. You borrow his equipment. You know, his tape recorder, and at one point —\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>I was just a thief, really. That’s the truth of it. [Both laugh.]\u003c/p>\n\u003cp>\u003cstrong>At one point, you guys are even living in the same building. He’s remarried and you’re married, and you’re living up and downstairs from each other.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s right.\u003c/p>\n\u003cp>\u003cstrong>So you’re together a lot.\u003c/strong>\u003c/p>\n\u003cp>Actually, you know, the poignant thing about it is, towards the end of his life, he enjoyed the robust health of a man who knew about the restorative powers of Bushmills whiskey, and never took an aspirin until he was about 79 and then developed Parkinson’s. And when he was in his last illness, I sat and tried to talk to him and keep him in the present, because dementia was developing rapidly. And when I actually tried to recall our times together, I ran out of experiences very quickly. In fact, I may have written all of them down in the book. That’s how few there were.\u003c/p>\n\u003cp>\u003cstrong>There’s a chapter in the book that’s called “Unfaithful Music,” and that’s part of the title of this book. This chapter is about that great song of yours, “\u003ca href=\"https://www.youtube.com/watch?v=C9GlC9GyF4Y\" target=\"_blank\" rel=\"noopener\">Alison\u003c/a>,” and I was wondering if you could read Page 187. There’s two short paragraphs.\u003c/strong>\u003c/p>\n\u003cp>“I believed that ‘Alison’ was a work of fiction taking the sad face of a beautiful girl glimpsed by chance and imagining her life unraveling before her. It was a premonition, my fear that I would not be faithful, or that my disbelief in happy endings would lead me to kill the love that I had longed for.”\u003c/p>\n\u003cp>\u003cstrong>So, you have said that the sad face of this beautiful girl was somebody you saw in a supermarket.\u003c/strong>\u003c/p>\n\u003cp>That — I just supposed I had a momentary crush on this girl, but in a way, the song became a premonition of my own ability to be constant.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I mean, basically, you’re talking about being unfaithful to your wife; to your family?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Yeah, and your dad wasn’t faithful, either.\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>Do you think that in some ways you were bound to be like him?\u003c/strong>\u003c/p>\n\u003cp>No, I really don’t. That makes it less forgivable, because I don’t — I’m not inclined to say, “Like father, like son,” or that because I came from a gently broken home that I would inevitably break one up myself. I can acknowledge what’s in the past. You can’t go back and change it.\u003c/p>\n\u003cp>\u003cstrong>So, this was the late ’70s and you were making this very, in some ways, very catchy pop music. But there was, of course, a lot of other stuff going on in the ’70s in music with punk and rock. You weren’t necessarily the glamorous type — you weren’t doing the Ziggy Stardust shiny-jumpsuit thing.\u003c/strong>\u003c/p>\n\u003cp>I worked for Elizabeth Arden for a while.\u003c/p>\n\u003cp>\u003cstrong>Yes, you did!\u003c/strong>\u003c/p>\n\u003cp>I did for several years, and I could get cheap lipstick and cheap mascara, and I still never made it in glam rock.\u003c/p>\n\u003cp>\u003cstrong>[Laughs.] So, I mean, you did later get cast as the angry type.\u003c/strong>\u003c/p>\n\u003cp>I’ve explained that very clearly in the book.\u003c/p>\n\u003cp>\u003cstrong>You have.\u003c/strong>\u003c/p>\n\u003cp>I have. It’s because I have a gap in my teeth. And although this makes people such as Jerry Lewis and Jane Birkin sex symbols, it just makes me sound aggressive. A lot of air gets pressed out between that gap, and it makes everything I say sound like a provocation or a threat, and quite often — I mean, that’s really true. I’m making a joke, obviously, because there were things in the songs that I said emphatically and things I meant, and there was just something about my face that made people think they read them this way. And I certainly didn’t help myself by going along to my couple early interviews very drunk.\u003c/p>\n\u003cp>http://youtu.be/D8caBUVjWvA\u003c/p>\n\u003cp>\u003cstrong>You know, I think Americans might remember you — the sort of angry you — from an episode in 1977. You were appearing on \u003cem>Saturday Night Live;\u003c/em> you were supposed to play your latest single called “Less than Zero,” but then you played “Radio Radio.”\u003c/strong>\u003c/p>\n\u003cp>My argument was not really with \u003cem>SNL;\u003c/em> my argument was with my own record company, because they were just going on at me to do this song. And I said, “I’m not sure people even know what this song is about in America, because it was written about very specific English circumstances.” I had a brand-new song ready to go that I thought was the one we should play — and I did play — and because I didn’t tell the producers about it, it was a little bit of a stink, as they say. A kerfuffle. And we were told we would never work on American television again. There was a period where I didn’t appear on TV in America — about three years. It was 12 years before Lorne Michaels let me back in the building.\u003c/p>\n\u003cp>\u003cstrong>We read somewhere that Lorne Michaels was giving you the finger from the booth. Is that true?\u003c/strong>\u003c/p>\n\u003cp>I’m not going to say that’s true. Bill Murray told me that at the 25th-anniversary party. He said, “Don’t let Lorne tell you he was in on the joke. I remember him doing that.” So I’m not saying it; Bill is saying it. Lorne can take it up with Bill. I don’t know.\u003c/p>\n\u003cp>\u003cstrong>Your dad, he died in 2011. He had Parkinson’s, and then he had a brain tumor, and you write in the book that at one point you thought you couldn’t bear to write any more songs if you couldn’t play them for your father.\u003c/strong>\u003c/p>\n\u003cp>No, not write them so much as record them, because it was the taking the record home. I always used to like playing the record and seeing what he took out of it. He would always listen in and find the center of it for him, and I was always encouraged by that, because I know there is no one way to listen. There is no absolute right and wrong about music.\u003c/p>\n\u003cp>\u003cstrong>So, you write that you couldn’t record another song if you couldn’t play it —\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No, not for a while. No. And then I stumbled into a recording collaboration with \u003ca href=\"http://www.npr.org/artists/15121130/the-roots\">The Roots\u003c/a> and \u003ca href=\"http://www.npr.org/2013/09/22/224505408/questlove-and-elvis-costello-on-writing-together\">the oddest thing happened\u003c/a>: Quest[love] and a keyboard player who plays with The Roots sometimes, Ray Angry, sent me a composition, and within an hour or so I had written this song called “A Puppet Has Cut His Strings,” which was almost like a moment-by-moment recitation of my dad’s passing. And I told myself I wasn’t ready to write about that, or I would never write about it, but it just came out. In the end, music was playing in the room when my father left this earth, and I suppose that something that I returned to throughout the book [is] thinking about how music has served me as being my companion. It’s got me into all kinds of trouble, but also got me all sorts of things, as well; all sorts of experiences that I wouldn’t trade. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1414,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705046179,
"excerpt": "Throughout his memoir, 'Unfaithful Music & Disappearing Ink,' Costello grapples with parallels to his father's life. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Throughout his memoir, 'Unfaithful Music & Disappearing Ink,' Costello grapples with parallels to his father's life. ",
"title": "Elvis Costello: 'There Is No Absolute Right And Wrong About Music' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Elvis Costello: 'There Is No Absolute Right And Wrong About Music'",
"datePublished": "2015-10-14T15:00:33-07:00",
"dateModified": "2024-01-11T23:56:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "elvis-costello-there-is-no-absolute-right-and-wrong-about-music",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=447225480&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff / Kelly McEvers",
"nprStoryDate": "Tue, 13 Oct 2015 15:53:00 -0400",
"nprLastModifiedDate": "Tue, 13 Oct 2015 19:05:41 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/13/447225480/elvis-costello-there-is-no-absolute-right-and-wrong-about-music?ft=nprml&f=447225480",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/10/20151013_atc_elvis_costello_there_is_no_absolute_right_and_wrong_about_music_.mp3?orgId=1&topicId=1039&aggIds=100920965&d=479&p=2&story=447225480&t=progseg&e=448226619&seg=21&ft=nprml&f=447225480",
"nprAudioM3u": "http://api.npr.org/m3u/1448379080-49d819.m3u?orgId=1&topicId=1039&aggIds=100920965&d=479&p=2&story=447225480&t=progseg&e=448226619&seg=21&ft=nprml&f=447225480",
"nprStoryId": "447225480",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 13 Oct 2015 19:05:00 -0400",
"path": "/arts/11009719/elvis-costello-there-is-no-absolute-right-and-wrong-about-music",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/10/20151013_atc_elvis_costello_there_is_no_absolute_right_and_wrong_about_music_.mp3?orgId=1&topicId=1039&aggIds=100920965&d=479&p=2&story=447225480&t=progseg&e=448226619&seg=21&ft=nprml&f=447225480",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Declan Patrick MacManus was just 7, his father — a musician of Irish descent, with thick glasses and tousled black hair — left home. The boy grew up to be \u003ca href=\"http://www.npr.org/artists/15045892/elvis-costello\">Elvis Costello\u003c/a>, and throughout his career-spanning 674-page memoir, \u003cem>Unfaithful Music & Disappearing Ink,\u003c/em> the singer-songwriter grapples with that relationship and the parallels in their lives.\u003c/p>\n\u003cp>Costello and NPR’s Kelly McEvers recently discussed those familial similarities, the gap in his teeth and why Lorne Michaels will probably take the truth of Costello’s infamous \u003cem>Saturday Night Live\u003c/em> performance to his grave.\u003c/p>\n\u003cp>\u003cstrong>Both you and your dad wear glasses. At one point, you’re wearing the same kind of boots. You borrow his equipment. You know, his tape recorder, and at one point —\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>I was just a thief, really. That’s the truth of it. [Both laugh.]\u003c/p>\n\u003cp>\u003cstrong>At one point, you guys are even living in the same building. He’s remarried and you’re married, and you’re living up and downstairs from each other.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s right.\u003c/p>\n\u003cp>\u003cstrong>So you’re together a lot.\u003c/strong>\u003c/p>\n\u003cp>Actually, you know, the poignant thing about it is, towards the end of his life, he enjoyed the robust health of a man who knew about the restorative powers of Bushmills whiskey, and never took an aspirin until he was about 79 and then developed Parkinson’s. And when he was in his last illness, I sat and tried to talk to him and keep him in the present, because dementia was developing rapidly. And when I actually tried to recall our times together, I ran out of experiences very quickly. In fact, I may have written all of them down in the book. That’s how few there were.\u003c/p>\n\u003cp>\u003cstrong>There’s a chapter in the book that’s called “Unfaithful Music,” and that’s part of the title of this book. This chapter is about that great song of yours, “\u003ca href=\"https://www.youtube.com/watch?v=C9GlC9GyF4Y\" target=\"_blank\" rel=\"noopener\">Alison\u003c/a>,” and I was wondering if you could read Page 187. There’s two short paragraphs.\u003c/strong>\u003c/p>\n\u003cp>“I believed that ‘Alison’ was a work of fiction taking the sad face of a beautiful girl glimpsed by chance and imagining her life unraveling before her. It was a premonition, my fear that I would not be faithful, or that my disbelief in happy endings would lead me to kill the love that I had longed for.”\u003c/p>\n\u003cp>\u003cstrong>So, you have said that the sad face of this beautiful girl was somebody you saw in a supermarket.\u003c/strong>\u003c/p>\n\u003cp>That — I just supposed I had a momentary crush on this girl, but in a way, the song became a premonition of my own ability to be constant.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I mean, basically, you’re talking about being unfaithful to your wife; to your family?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Yeah, and your dad wasn’t faithful, either.\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>Do you think that in some ways you were bound to be like him?\u003c/strong>\u003c/p>\n\u003cp>No, I really don’t. That makes it less forgivable, because I don’t — I’m not inclined to say, “Like father, like son,” or that because I came from a gently broken home that I would inevitably break one up myself. I can acknowledge what’s in the past. You can’t go back and change it.\u003c/p>\n\u003cp>\u003cstrong>So, this was the late ’70s and you were making this very, in some ways, very catchy pop music. But there was, of course, a lot of other stuff going on in the ’70s in music with punk and rock. You weren’t necessarily the glamorous type — you weren’t doing the Ziggy Stardust shiny-jumpsuit thing.\u003c/strong>\u003c/p>\n\u003cp>I worked for Elizabeth Arden for a while.\u003c/p>\n\u003cp>\u003cstrong>Yes, you did!\u003c/strong>\u003c/p>\n\u003cp>I did for several years, and I could get cheap lipstick and cheap mascara, and I still never made it in glam rock.\u003c/p>\n\u003cp>\u003cstrong>[Laughs.] So, I mean, you did later get cast as the angry type.\u003c/strong>\u003c/p>\n\u003cp>I’ve explained that very clearly in the book.\u003c/p>\n\u003cp>\u003cstrong>You have.\u003c/strong>\u003c/p>\n\u003cp>I have. It’s because I have a gap in my teeth. And although this makes people such as Jerry Lewis and Jane Birkin sex symbols, it just makes me sound aggressive. A lot of air gets pressed out between that gap, and it makes everything I say sound like a provocation or a threat, and quite often — I mean, that’s really true. I’m making a joke, obviously, because there were things in the songs that I said emphatically and things I meant, and there was just something about my face that made people think they read them this way. And I certainly didn’t help myself by going along to my couple early interviews very drunk.\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/D8caBUVjWvA'\n title='//www.youtube.com/embed/D8caBUVjWvA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You know, I think Americans might remember you — the sort of angry you — from an episode in 1977. You were appearing on \u003cem>Saturday Night Live;\u003c/em> you were supposed to play your latest single called “Less than Zero,” but then you played “Radio Radio.”\u003c/strong>\u003c/p>\n\u003cp>My argument was not really with \u003cem>SNL;\u003c/em> my argument was with my own record company, because they were just going on at me to do this song. And I said, “I’m not sure people even know what this song is about in America, because it was written about very specific English circumstances.” I had a brand-new song ready to go that I thought was the one we should play — and I did play — and because I didn’t tell the producers about it, it was a little bit of a stink, as they say. A kerfuffle. And we were told we would never work on American television again. There was a period where I didn’t appear on TV in America — about three years. It was 12 years before Lorne Michaels let me back in the building.\u003c/p>\n\u003cp>\u003cstrong>We read somewhere that Lorne Michaels was giving you the finger from the booth. Is that true?\u003c/strong>\u003c/p>\n\u003cp>I’m not going to say that’s true. Bill Murray told me that at the 25th-anniversary party. He said, “Don’t let Lorne tell you he was in on the joke. I remember him doing that.” So I’m not saying it; Bill is saying it. Lorne can take it up with Bill. I don’t know.\u003c/p>\n\u003cp>\u003cstrong>Your dad, he died in 2011. He had Parkinson’s, and then he had a brain tumor, and you write in the book that at one point you thought you couldn’t bear to write any more songs if you couldn’t play them for your father.\u003c/strong>\u003c/p>\n\u003cp>No, not write them so much as record them, because it was the taking the record home. I always used to like playing the record and seeing what he took out of it. He would always listen in and find the center of it for him, and I was always encouraged by that, because I know there is no one way to listen. There is no absolute right and wrong about music.\u003c/p>\n\u003cp>\u003cstrong>So, you write that you couldn’t record another song if you couldn’t play it —\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, not for a while. No. And then I stumbled into a recording collaboration with \u003ca href=\"http://www.npr.org/artists/15121130/the-roots\">The Roots\u003c/a> and \u003ca href=\"http://www.npr.org/2013/09/22/224505408/questlove-and-elvis-costello-on-writing-together\">the oddest thing happened\u003c/a>: Quest[love] and a keyboard player who plays with The Roots sometimes, Ray Angry, sent me a composition, and within an hour or so I had written this song called “A Puppet Has Cut His Strings,” which was almost like a moment-by-moment recitation of my dad’s passing. And I told myself I wasn’t ready to write about that, or I would never write about it, but it just came out. In the end, music was playing in the room when my father left this earth, and I suppose that something that I returned to throughout the book [is] thinking about how music has served me as being my companion. It’s got me into all kinds of trouble, but also got me all sorts of things, as well; all sorts of experiences that I wouldn’t trade. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11009719/elvis-costello-there-is-no-absolute-right-and-wrong-about-music",
"authors": [
"byline_arts_11009719"
],
"categories": [
"arts_73",
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11009801",
"label": "arts_137"
},
"arts_11006565": {
"type": "posts",
"id": "arts_11006565",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11006565",
"score": null,
"sort": [
1444582824000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1444582824,
"format": "audio",
"title": "Sylvia Plath's Husband, Ted Hughes, Lived A Life Of Poetry And Tragedy",
"headTitle": "Sylvia Plath’s Husband, Ted Hughes, Lived A Life Of Poetry And Tragedy | KQED",
"content": "\u003cp>Ted Hughes left behind a path of personal tragedy and destruction — and also some of the most beautiful poetry in the English language. The British Poet Laureate was the husband of writer Sylvia Plath, who famously committed suicide following his affair with Assia Wevill. Just six years later, Wevill took her own life, and also the life of the young daughter she had with Hughes.\u003c/p>\n\u003cp>Jonathan Bate of Oxford University weighs the beauty and tragedy of this life in a new biography (disavowed by the Hughes estate) called \u003cem>Ted Hughes: The Unauthorised Life\u003c/em>. He tells NPR’s Scott Simon that, from a biographer’s perspective, “the quality of the work [and] the morality of the life, are not actually the same thing.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/player/embed/447156705/447451430\">\u003cb>Listen to NPR’s interview with Jonathan Bate here.\u003c/b>\u003c/a>\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what made his work extraordinary and enduring\u003c/strong>\u003c/p>\n\u003cp>He explored so many different cultures and traditions. He was fascinated by myths and stories, by anthropology, by ancient wisdom. But also by so many different poets like T.S. Eliot and W.B. Yeats. But also by the best new poetry coming out of Eastern Europe, coming out of America. And he just wrote and wrote and wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On what brought Hughes and Plath together\u003c/strong>\u003c/p>\n\u003cp>The simple answer is that they were both geniuses. They met as young poets just as their art was on the brink of taking off. And for six years they lived together, worked together, day and night. He helped her to develop her voice. She helped him to develop his. And the tragedy then was that the intensity of the relationship, the mental illness of Sylvia, and then Ted’s dalliance with this other woman, Assia Wevill, led to their tragic separation.\u003c/p>\n\u003cp>But he never ever forgot about Sylvia Plath, and never forgave himself for not being there when she took her own life. Everybody knows that in the final year of his life, he published \u003cem>Birthday Letters\u003c/em> — this collection of poems of memory about their marriage, of her death. What I discovered in the archive is he’d been working on it for nearly 30 years. Only at the very end of his life did he let those poems go.\u003c/p>\n\u003cp>\u003cstrong>On Hughes’ infidelity\u003c/strong>\u003c/p>\n\u003cp>He was capable of fidelity. Like I said, he was faithful to Sylvia for six years. … One of the things I say in the book is that on some level, his fidelity [was] to the idea of Sylvia as the ideal partner who, because of his mistake, he lost, and her life was lost. Because of that he was never able to remain faithful to another woman. That pretty well for the rest of his life, he had this kind of double life. The idea that infidelity to others is a form of fidelity to the true love that you’ve lost, as I say — not everybody would go along that.\u003c/p>\n\u003cp>\u003cstrong>On the destruction Hughes left in his wake\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt about that. But it seems to me the business of the literary biographer is to tell the story as truthfully and fully as possible. And to leave it to the reader to make judgments. What I’m in the business of making judgments about is the quality and endurance of the literary work. And it does seem to me that that sense that the trauma of Sylvia Plath’s death — leading on the one hand to extraordinary works of powerful but dark imagination, such as his great poem \u003ca href=\"http://www.npr.org/books/titles/447265387/crow-from-the-life-and-songs-of-the-crow\">“Crow”\u003c/a> — and on the other hand, to a wake of human destruction, is a key fact at the heart of Hughes’ life.\u003c/p>\n\u003cp>\u003cstrong>On whether he had the support and cooperation of Hughes’ widow \u003c/strong>\u003c/p>\n\u003cp>The origin of this project was a proposal to write what I called a “literary life” of Ted Hughes, to focus very much on the development of his literary voice, his poems, his plays, his children’s writing. The sheer scale of the archive meant that I found myself asking my publisher for a one-year extension. They were happy with that. But at that point, Carol Hughes, his widow, said that she was withdrawing support from the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reason for that was she said I’d not shown sufficient draft material for her to have the assurance that I wasn’t trespassing too much from the literary into the purely biographical. But in a way, I think what she was worried about was she would’ve known that [I’d] discovered in the archive that so much of his work does take the form of veiled autobiography, closet confession. And so inevitably that distinction between a purely literary life and a more no-holds-barred, more comprehensive biography, that that distinction was breaking down. And so I suspect a falling out with the estate was probably going to happen anyway. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 838,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705046196,
"excerpt": "Biographer Jonathan Bate says his job is to write about \"the quality and endurance of the literary work.\" His new biography has been disavowed by the Hughes estate.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Biographer Jonathan Bate says his job is to write about "the quality and endurance of the literary work." His new biography has been disavowed by the Hughes estate.",
"title": "Sylvia Plath's Husband, Ted Hughes, Lived A Life Of Poetry And Tragedy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sylvia Plath's Husband, Ted Hughes, Lived A Life Of Poetry And Tragedy",
"datePublished": "2015-10-11T10:00:24-07:00",
"dateModified": "2024-01-11T23:56:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sylvia-plaths-husband-ted-hughes-lived-a-life-of-poetry-and-tragedy",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=447156705&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff",
"nprStoryDate": "Sat, 10 Oct 2015 08:19:19 -0400",
"nprLastModifiedDate": "Sat, 10 Oct 2015 08:19:19 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/10/447156705/sylvia-plaths-husband-ted-hughes-lived-a-life-of-poetry-and-tragedy?ft=nprml&f=447156705",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151010_wesat_sylvia_plaths_husband_ted_hughes_lived_a_life_of_poetry_and_tragedy.mp3?orgId=1&topicId=1033&d=402&p=7&story=447156705&t=progseg&e=447451307&seg=9&ft=nprml&f=447156705",
"nprAudioM3u": "http://api.npr.org/m3u/1447451430-5e465a.m3u?orgId=1&topicId=1033&d=402&p=7&story=447156705&t=progseg&e=447451307&seg=9&ft=nprml&f=447156705",
"nprStoryId": "447156705",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 10 Oct 2015 10:28:00 -0400",
"path": "/arts/11006565/sylvia-plaths-husband-ted-hughes-lived-a-life-of-poetry-and-tragedy",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151010_wesat_sylvia_plaths_husband_ted_hughes_lived_a_life_of_poetry_and_tragedy.mp3?orgId=1&topicId=1033&d=402&p=7&story=447156705&t=progseg&e=447451307&seg=9&ft=nprml&f=447156705",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ted Hughes left behind a path of personal tragedy and destruction — and also some of the most beautiful poetry in the English language. The British Poet Laureate was the husband of writer Sylvia Plath, who famously committed suicide following his affair with Assia Wevill. Just six years later, Wevill took her own life, and also the life of the young daughter she had with Hughes.\u003c/p>\n\u003cp>Jonathan Bate of Oxford University weighs the beauty and tragedy of this life in a new biography (disavowed by the Hughes estate) called \u003cem>Ted Hughes: The Unauthorised Life\u003c/em>. He tells NPR’s Scott Simon that, from a biographer’s perspective, “the quality of the work [and] the morality of the life, are not actually the same thing.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/player/embed/447156705/447451430\">\u003cb>Listen to NPR’s interview with Jonathan Bate here.\u003c/b>\u003c/a>\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what made his work extraordinary and enduring\u003c/strong>\u003c/p>\n\u003cp>He explored so many different cultures and traditions. He was fascinated by myths and stories, by anthropology, by ancient wisdom. But also by so many different poets like T.S. Eliot and W.B. Yeats. But also by the best new poetry coming out of Eastern Europe, coming out of America. And he just wrote and wrote and wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On what brought Hughes and Plath together\u003c/strong>\u003c/p>\n\u003cp>The simple answer is that they were both geniuses. They met as young poets just as their art was on the brink of taking off. And for six years they lived together, worked together, day and night. He helped her to develop her voice. She helped him to develop his. And the tragedy then was that the intensity of the relationship, the mental illness of Sylvia, and then Ted’s dalliance with this other woman, Assia Wevill, led to their tragic separation.\u003c/p>\n\u003cp>But he never ever forgot about Sylvia Plath, and never forgave himself for not being there when she took her own life. Everybody knows that in the final year of his life, he published \u003cem>Birthday Letters\u003c/em> — this collection of poems of memory about their marriage, of her death. What I discovered in the archive is he’d been working on it for nearly 30 years. Only at the very end of his life did he let those poems go.\u003c/p>\n\u003cp>\u003cstrong>On Hughes’ infidelity\u003c/strong>\u003c/p>\n\u003cp>He was capable of fidelity. Like I said, he was faithful to Sylvia for six years. … One of the things I say in the book is that on some level, his fidelity [was] to the idea of Sylvia as the ideal partner who, because of his mistake, he lost, and her life was lost. Because of that he was never able to remain faithful to another woman. That pretty well for the rest of his life, he had this kind of double life. The idea that infidelity to others is a form of fidelity to the true love that you’ve lost, as I say — not everybody would go along that.\u003c/p>\n\u003cp>\u003cstrong>On the destruction Hughes left in his wake\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt about that. But it seems to me the business of the literary biographer is to tell the story as truthfully and fully as possible. And to leave it to the reader to make judgments. What I’m in the business of making judgments about is the quality and endurance of the literary work. And it does seem to me that that sense that the trauma of Sylvia Plath’s death — leading on the one hand to extraordinary works of powerful but dark imagination, such as his great poem \u003ca href=\"http://www.npr.org/books/titles/447265387/crow-from-the-life-and-songs-of-the-crow\">“Crow”\u003c/a> — and on the other hand, to a wake of human destruction, is a key fact at the heart of Hughes’ life.\u003c/p>\n\u003cp>\u003cstrong>On whether he had the support and cooperation of Hughes’ widow \u003c/strong>\u003c/p>\n\u003cp>The origin of this project was a proposal to write what I called a “literary life” of Ted Hughes, to focus very much on the development of his literary voice, his poems, his plays, his children’s writing. The sheer scale of the archive meant that I found myself asking my publisher for a one-year extension. They were happy with that. But at that point, Carol Hughes, his widow, said that she was withdrawing support from the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reason for that was she said I’d not shown sufficient draft material for her to have the assurance that I wasn’t trespassing too much from the literary into the purely biographical. But in a way, I think what she was worried about was she would’ve known that [I’d] discovered in the archive that so much of his work does take the form of veiled autobiography, closet confession. And so inevitably that distinction between a purely literary life and a more no-holds-barred, more comprehensive biography, that that distinction was breaking down. And so I suspect a falling out with the estate was probably going to happen anyway. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11006565/sylvia-plaths-husband-ted-hughes-lived-a-life-of-poetry-and-tragedy",
"authors": [
"byline_arts_11006565"
],
"categories": [
"arts_73"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11006566",
"label": "arts_137"
},
"arts_11001376": {
"type": "posts",
"id": "arts_11001376",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11001376",
"score": null,
"sort": [
1444399238000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1444399238,
"format": "standard",
"title": "Suspense And Emotion Teeter Alongside Each Other In 'The Walk'",
"headTitle": "Suspense And Emotion Teeter Alongside Each Other In ‘The Walk’ | KQED",
"content": "\u003cp>In their absence, the twin towers have occupied such a significant place in the American conscience, it can be easy to forget they were once considered a blight on the landscape. “Like two file cabinets,” snorts one New Yorker in \u003cem>The Walk\u003c/em>, Robert Zemeckis’ exhilarating film about Philippe Petit, the French wire-walker who tightroped across the towers as they were nearing completion in 1974. Zemeckis makes our current associations with the World Trade Center a little too explicit at times, but his film carries the touching sentiment that buildings are not defined by their architecture. They’re animated by our imagination and our experiences, too.\u003c/p>\n\u003cp>For Petit, a street performer and self-styled artiste from Paris, the construction of the World Trade Center was a dream clarified, the ultimate high-wire act for a man with no respect for proper permits. With a showman’s buoyancy and a Maurice Chevalier \u003cem>ahkzent zet\u003c/em> takes some getting used to, Joseph Gordon-Levitt plays Petit as a twinkle-eyed visionary who understands the Towers’ majesty before anyone else does. After covering the bullet points of Petit’s backstory—a childhood interest in juggling, miming, unicycling, and wire-walking; a mentorship under circus scion Papa Rudy (Ben Kingsley); an audacious walk across the towers of Notre-Dame Cathedral—the film finally lands in New York City, where he and his co-conspirators make plans for the surreptitious walk of the title.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GR1EmTKAWIw&list=PLYeOyMz9C9kZQDleU6Emj093Xsg1_Xa0L&index=4\u003c/p>\n\u003cp>The first half of \u003cem>The Walk\u003c/em> gets into the origins of Petit’s philosophy and craft, as well as the support he brought with him to America, but Zemeckis can’t get through that obligatory business fast enough. Once it’s wheels-down in New York City, however, Petit (and the movie) really set to work. The second hour of \u003cem>The Walk\u003c/em> has the quality of a great heist film: Petit assembles a team of trusted confidantes and motley additions, stakes out the location, plans a complex operation down to the very last bolt, and then finally sets about executing it. But for all of his meticulousness, there are still plenty of close calls and hair-raising feats of improvisation.\u003c/p>\n\u003cp>Petit’s self-described “coup” has been recounted before, in the fine documentary \u003cem>Man on Wire\u003c/em>, but Zemeckis’ combination of digital artistry and old-school storytelling chops brings a singularly exquisite tension to the final act. It’s not often that a sequence is at once suspenseful \u003cem>and\u003c/em> moving, but that’s where grunt work of establishing the stakes and paying close attention to detail pays off. The audience can feel the tension—and the possible points of vulnerability—in the wire itself, and appreciate what it means for Petit (and for America) to be held in precarious balance between the Towers, giving them a story to tell. Suddenly, these immense file cabinets in the sky have a necessary splash of paint on them and New Yorkers can see them in a new light. The fact that we’d see them in another way after they’re gone makes \u003cem>The Walk\u003c/em> a stealth September 11 tribute, the most beautiful of its kind since the opening credits of Spike Lee’s \u003cem>25th Hour\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Expanding on a résumé that includes \u003cem>Back to the Future\u003c/em>, \u003cem>Who Framed Roger Rabbit?\u003c/em>, \u003cem>Contact\u003c/em>, \u003cem>Forrest Gump\u003c/em>, and \u003cem>Death Becomes Her\u003c/em>, \u003cem>The Walk\u003c/em> also affirms Zemeckis as a peerless orchestrator of special effects. This is the rare movie that’s essential in 3D, because Zemeckis takes advantage of the format’s potential for depth \u003cem>and\u003c/em> visceral pop. Advances in 3D have made comin’-atcha effects seem gauche, as many of the most celebrated examples (such as \u003cem>Avatar\u003c/em>, \u003cem>Coraline\u003c/em>, \u003cem>Hugo\u003c/em>, and \u003cem>Pina\u003c/em>) have focused on creating immersive environments rather than poking viewers in the face. Zemeckis does both, inducing the intense vertigo of being suspended 110 stories high while occasionally extending the wire to the seats, tendril by tendril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are plenty of nits to pick about \u003cem>The Walk\u003c/em>: Gordon-Levitt’s overcranked performance, the excessive whimsy and biopic conventionality of the French section, the thinly drawn relationships between Petit and his team, the slight overstatement of the September 11 theme. But Zemeckis throws all of the emphasis on the walk itself, which minimizes the film’s annoyances and justifies the groundwork necessary for the big payoff. In that, he and Petit have everything in common.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 771,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705046202,
"excerpt": "Once it actually gets to the famous wire walk between the twin towers, 'The Walk' is pretty compelling.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Once it actually gets to the famous wire walk between the twin towers, 'The Walk' is pretty compelling.",
"title": "Suspense And Emotion Teeter Alongside Each Other In 'The Walk' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Suspense And Emotion Teeter Alongside Each Other In 'The Walk'",
"datePublished": "2015-10-09T07:00:38-07:00",
"dateModified": "2024-01-11T23:56:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "suspense-and-emotion-teeter-alongside-each-other-in-the-walk",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=444720885&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 01 Oct 2015 17:03:00 -0400",
"nprLastModifiedDate": "Fri, 02 Oct 2015 06:53:01 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/01/444720885/suspense-and-emotion-teeter-alongside-each-other-in-the-walk?ft=nprml&f=444720885",
"nprStoryId": "444720885",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 02 Oct 2015 06:53:00 -0400",
"path": "/arts/11001376/suspense-and-emotion-teeter-alongside-each-other-in-the-walk",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In their absence, the twin towers have occupied such a significant place in the American conscience, it can be easy to forget they were once considered a blight on the landscape. “Like two file cabinets,” snorts one New Yorker in \u003cem>The Walk\u003c/em>, Robert Zemeckis’ exhilarating film about Philippe Petit, the French wire-walker who tightroped across the towers as they were nearing completion in 1974. Zemeckis makes our current associations with the World Trade Center a little too explicit at times, but his film carries the touching sentiment that buildings are not defined by their architecture. They’re animated by our imagination and our experiences, too.\u003c/p>\n\u003cp>For Petit, a street performer and self-styled artiste from Paris, the construction of the World Trade Center was a dream clarified, the ultimate high-wire act for a man with no respect for proper permits. With a showman’s buoyancy and a Maurice Chevalier \u003cem>ahkzent zet\u003c/em> takes some getting used to, Joseph Gordon-Levitt plays Petit as a twinkle-eyed visionary who understands the Towers’ majesty before anyone else does. After covering the bullet points of Petit’s backstory—a childhood interest in juggling, miming, unicycling, and wire-walking; a mentorship under circus scion Papa Rudy (Ben Kingsley); an audacious walk across the towers of Notre-Dame Cathedral—the film finally lands in New York City, where he and his co-conspirators make plans for the surreptitious walk of the title.\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/GR1EmTKAWIw'\n title='//www.youtube.com/embed/GR1EmTKAWIw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first half of \u003cem>The Walk\u003c/em> gets into the origins of Petit’s philosophy and craft, as well as the support he brought with him to America, but Zemeckis can’t get through that obligatory business fast enough. Once it’s wheels-down in New York City, however, Petit (and the movie) really set to work. The second hour of \u003cem>The Walk\u003c/em> has the quality of a great heist film: Petit assembles a team of trusted confidantes and motley additions, stakes out the location, plans a complex operation down to the very last bolt, and then finally sets about executing it. But for all of his meticulousness, there are still plenty of close calls and hair-raising feats of improvisation.\u003c/p>\n\u003cp>Petit’s self-described “coup” has been recounted before, in the fine documentary \u003cem>Man on Wire\u003c/em>, but Zemeckis’ combination of digital artistry and old-school storytelling chops brings a singularly exquisite tension to the final act. It’s not often that a sequence is at once suspenseful \u003cem>and\u003c/em> moving, but that’s where grunt work of establishing the stakes and paying close attention to detail pays off. The audience can feel the tension—and the possible points of vulnerability—in the wire itself, and appreciate what it means for Petit (and for America) to be held in precarious balance between the Towers, giving them a story to tell. Suddenly, these immense file cabinets in the sky have a necessary splash of paint on them and New Yorkers can see them in a new light. The fact that we’d see them in another way after they’re gone makes \u003cem>The Walk\u003c/em> a stealth September 11 tribute, the most beautiful of its kind since the opening credits of Spike Lee’s \u003cem>25th Hour\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Expanding on a résumé that includes \u003cem>Back to the Future\u003c/em>, \u003cem>Who Framed Roger Rabbit?\u003c/em>, \u003cem>Contact\u003c/em>, \u003cem>Forrest Gump\u003c/em>, and \u003cem>Death Becomes Her\u003c/em>, \u003cem>The Walk\u003c/em> also affirms Zemeckis as a peerless orchestrator of special effects. This is the rare movie that’s essential in 3D, because Zemeckis takes advantage of the format’s potential for depth \u003cem>and\u003c/em> visceral pop. Advances in 3D have made comin’-atcha effects seem gauche, as many of the most celebrated examples (such as \u003cem>Avatar\u003c/em>, \u003cem>Coraline\u003c/em>, \u003cem>Hugo\u003c/em>, and \u003cem>Pina\u003c/em>) have focused on creating immersive environments rather than poking viewers in the face. Zemeckis does both, inducing the intense vertigo of being suspended 110 stories high while occasionally extending the wire to the seats, tendril by tendril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are plenty of nits to pick about \u003cem>The Walk\u003c/em>: Gordon-Levitt’s overcranked performance, the excessive whimsy and biopic conventionality of the French section, the thinly drawn relationships between Petit and his team, the slight overstatement of the September 11 theme. But Zemeckis throws all of the emphasis on the walk itself, which minimizes the film’s annoyances and justifies the groundwork necessary for the big payoff. In that, he and Petit have everything in common.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11001376/suspense-and-emotion-teeter-alongside-each-other-in-the-walk",
"authors": [
"byline_arts_11001376"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11001377",
"label": "arts_137"
},
"arts_11003385": {
"type": "posts",
"id": "arts_11003385",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11003385",
"score": null,
"sort": [
1444337829000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1444337829,
"format": "standard",
"title": "Sculptor Turns Rain, Ice and Trees into 'Ephemeral Works'",
"headTitle": "Sculptor Turns Rain, Ice and Trees into ‘Ephemeral Works’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/446731282/446931348\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>British artist Andy Goldsworthy works in the fields and forests near his home in Scotland using natural elements as his media. His pieces have a tendency to collapse, decay and melt, but, as he tells \u003cem>Fresh Air’s\u003c/em> Terry Gross, “It’s not about art. It’s just about life and the need to understand that a lot of things in life do not last.”\u003c/p>\n\u003cp>The list of elements Goldsworthy has worked with includes ice, snow, mud, wind and the rising tide. In one piece, he used twigs to fashion a giant spider web hanging from a tree. In another, he decorated a stone wall with sheets of ice. He has also lain in the rain to create “rain shadows” in the shape of his body on city streets.\u003c/p>\n\u003cp>Goldsworthy refers to his creations as “ephemeral works.” He says, “When I make an ephemeral work, when it’s finished, that’s the moment that it ends, in a way.”\u003c/p>\n\u003cp>Though Goldsworthy has also worked with more enduring materials, he says that using temporal materials is a reflection of the world we live in. His materials, he says, “Come raw from the ground and have all the irregularities and peculiarities because of that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Goldsworthy’s ephemeral creations aren’t completely lost to audiences upon completion; a new book, \u003cem>Andy Goldsworthy: Ephemeral Works: 2004-2014\u003c/em>, presents a collection of photographs of his work. There’s also an exhibition of Goldsworthy’s photos opening Oct. 22 at the \u003ca href=\"http://www.galerielelong.com/\" target=\"_blank\" rel=\"noopener\">Galerie Lelong\u003c/a> in New York.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he doesn’t see himself as “designing” his works\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11003563\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/goldsworthy-cover.jpg\" alt=\"Andy Goldsworthy, 'Ephemeral Works 2004-2014'\" width=\"400\" height=\"508\" class=\"size-full wp-image-11003563\">\u003cfigcaption class=\"wp-caption-text\">Andy Goldsworthy,\u003cbr>‘Ephemeral Works 2004-2014’\u003c/figcaption>\u003c/figure>\n\u003cp>Design implies a sense of mapping something out, and then you follow the plan; [but] these things grow, and the process of making it parallels that of growth. So in the making of a work — layer by layer, stone by stone, branch by branch, leaf by leaf, petal by petal, one being added to the next — something grows in front of you. And the process of growth is obviously critical to my understanding of the land and myself. … It’s a lot more unpredictable, the process is far more unpredictable, and with far more compromises with the day, the weather, the material.\u003c/p>\n\u003cp>\u003cstrong>On rebuilding a piece that keeps collapsing \u003c/strong>\u003c/p>\n\u003cp>This particular piece [a tree stump with a stone wall inside] — it has fallen down now three times: three days, three collapses. The actual act of collapse and the attempt is becoming interesting enough to become the work. I may have bitten off something I cannot make here. I don’t know if I will be able to achieve what I want to; or I will, with a huge amount of luck and chance. But if I don’t, I think the act of building and rebuilding, collapse, could become the work. …\u003c/p>\n\u003cp>Failure is really, really important, but failures have to hurt. … And if I start making this work with the intention of it collapsing, then I’ve lost that intensity of the will for it to succeed, which makes the failure that much more poignant and significant. So there’s a really odd sort of state of mind that I guess I get into when I’m making these works, that is necessary for me to extract the finished piece [and] extract the right kind of feeling for the work as I’m making it. …\u003c/p>\n\u003cp>To achieve what I want, to achieve the works that I make, I have to be fully committed to them succeeding. I couldn’t make them otherwise. And you cannot feel that commitment without feeling or having a deep sense of loss when they do collapse or fail, and that’s inevitable.\u003c/p>\n\u003cp>\u003cstrong>On working with ice\u003c/strong>\u003c/p>\n\u003cp>We generally don’t get these severe winters [in Britain] and when it does get below freezing and it’s cold enough for ice to form, then that changes the whole landscape and it makes the landscape a different landscape to the one that I’ve worked with previously. And I want to understand that — the relationship of cold, or what the cold is, to the land. Many of the things that I’ve done in ice almost reflect those things that I’ve done in stone, so you can learn a lot about stone by working with ice, and I can learn a lot about ice by working with stone.\u003c/p>\n\u003cp>But the big tension of the ice works is that they’re often made when it’s cold enough to freeze one piece of ice to another, and the temperature very rarely stays below freezing all day long in Britain. So I typically will get up very, very early, when it’s dark, and I’ll start working in the dark, which can be difficult because I can’t really see what I’m doing. So I can freeze ice to ice and I can work very, very quickly, and then the temperature starts to rise, and the work slows down. And then, if it stops freezing, the work collapses. But if I can get through the midday period, then I often try to find places where the sun can’t reach. … There’s a huge number of things that are occurring with the ice works which fascinate me enormously, but it’s driven by this kind of frantic race against time.\u003c/p>\n\u003cp>\u003cstrong>On “rain shadows” \u003c/strong>\u003c/p>\n\u003cp>These are outdoor works. So when it rains, I lay down or I find a surface quickly that I think will produce a good rain shadow, and I lay there, and when it’s wet enough, I get up and there is left me — my imprint, my shadow. That sounds really quite simple, but it is beautifully complex. … Sometimes it stops raining when I’m half-way through. Sometimes I can lie there for an hour waiting for the rain. And other times it’s over in four or five seconds. Often I do them on video, so you have the whole film of laying down and then me getting up and leaving the shadow. …\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I just concentrate on the rain. I’ve learned so much about rain — the different kinds of rains, the rhythms of rains. And people will say, “Oh, why don’t you just use a hose pipe?” That would be totally pointless. The point is not just to make the shadow, it’s to understand the rain that falls and the relationship with rain and the different rhythms of different rainfalls. \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=Sculptor+Turns+Rain%2C+Ice+And+Trees+Into+%27Ephemeral+Works%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1167,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705046209,
"excerpt": "British artist Andy Goldsworthy's sculptures melt and decay. \"It's not about art,\" he says. \"It's just about life, and the need to understand that a lot of things in life do not last.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "British artist Andy Goldsworthy's sculptures melt and decay. "It's not about art," he says. "It's just about life, and the need to understand that a lot of things in life do not last."",
"title": "Sculptor Turns Rain, Ice and Trees into 'Ephemeral Works' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sculptor Turns Rain, Ice and Trees into 'Ephemeral Works'",
"datePublished": "2015-10-08T13:57:09-07:00",
"dateModified": "2024-01-11T23:56:49-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sculptor-turns-rain-ice-and-trees-into-ephemeral-works",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=446731282&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Fresh Air",
"nprStoryDate": "Thu, 08 Oct 2015 13:11:00 -0400",
"nprLastModifiedDate": "Thu, 08 Oct 2015 15:41:06 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/08/446731282/sculptor-turns-rain-ice-and-trees-into-ephemeral-works?ft=nprml&f=446731282",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/10/20151008_fa_01.mp3?orgId=1&topicId=1141&d=2319&p=13&story=446731282&t=progseg&e=446877807&seg=1&ft=nprml&f=446731282",
"nprAudioM3u": "http://api.npr.org/m3u/1446931348-941042.m3u?orgId=1&topicId=1141&d=2319&p=13&story=446731282&t=progseg&e=446877807&seg=1&ft=nprml&f=446731282",
"nprStoryId": "446731282",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 08 Oct 2015 15:41:00 -0400",
"path": "/arts/11003385/sculptor-turns-rain-ice-and-trees-into-ephemeral-works",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/10/20151008_fa_01.mp3?orgId=1&topicId=1141&d=2319&p=13&story=446731282&t=progseg&e=446877807&seg=1&ft=nprml&f=446731282",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/446731282/446931348\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>British artist Andy Goldsworthy works in the fields and forests near his home in Scotland using natural elements as his media. His pieces have a tendency to collapse, decay and melt, but, as he tells \u003cem>Fresh Air’s\u003c/em> Terry Gross, “It’s not about art. It’s just about life and the need to understand that a lot of things in life do not last.”\u003c/p>\n\u003cp>The list of elements Goldsworthy has worked with includes ice, snow, mud, wind and the rising tide. In one piece, he used twigs to fashion a giant spider web hanging from a tree. In another, he decorated a stone wall with sheets of ice. He has also lain in the rain to create “rain shadows” in the shape of his body on city streets.\u003c/p>\n\u003cp>Goldsworthy refers to his creations as “ephemeral works.” He says, “When I make an ephemeral work, when it’s finished, that’s the moment that it ends, in a way.”\u003c/p>\n\u003cp>Though Goldsworthy has also worked with more enduring materials, he says that using temporal materials is a reflection of the world we live in. His materials, he says, “Come raw from the ground and have all the irregularities and peculiarities because of that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Goldsworthy’s ephemeral creations aren’t completely lost to audiences upon completion; a new book, \u003cem>Andy Goldsworthy: Ephemeral Works: 2004-2014\u003c/em>, presents a collection of photographs of his work. There’s also an exhibition of Goldsworthy’s photos opening Oct. 22 at the \u003ca href=\"http://www.galerielelong.com/\" target=\"_blank\" rel=\"noopener\">Galerie Lelong\u003c/a> in New York.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he doesn’t see himself as “designing” his works\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11003563\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/goldsworthy-cover.jpg\" alt=\"Andy Goldsworthy, 'Ephemeral Works 2004-2014'\" width=\"400\" height=\"508\" class=\"size-full wp-image-11003563\">\u003cfigcaption class=\"wp-caption-text\">Andy Goldsworthy,\u003cbr>‘Ephemeral Works 2004-2014’\u003c/figcaption>\u003c/figure>\n\u003cp>Design implies a sense of mapping something out, and then you follow the plan; [but] these things grow, and the process of making it parallels that of growth. So in the making of a work — layer by layer, stone by stone, branch by branch, leaf by leaf, petal by petal, one being added to the next — something grows in front of you. And the process of growth is obviously critical to my understanding of the land and myself. … It’s a lot more unpredictable, the process is far more unpredictable, and with far more compromises with the day, the weather, the material.\u003c/p>\n\u003cp>\u003cstrong>On rebuilding a piece that keeps collapsing \u003c/strong>\u003c/p>\n\u003cp>This particular piece [a tree stump with a stone wall inside] — it has fallen down now three times: three days, three collapses. The actual act of collapse and the attempt is becoming interesting enough to become the work. I may have bitten off something I cannot make here. I don’t know if I will be able to achieve what I want to; or I will, with a huge amount of luck and chance. But if I don’t, I think the act of building and rebuilding, collapse, could become the work. …\u003c/p>\n\u003cp>Failure is really, really important, but failures have to hurt. … And if I start making this work with the intention of it collapsing, then I’ve lost that intensity of the will for it to succeed, which makes the failure that much more poignant and significant. So there’s a really odd sort of state of mind that I guess I get into when I’m making these works, that is necessary for me to extract the finished piece [and] extract the right kind of feeling for the work as I’m making it. …\u003c/p>\n\u003cp>To achieve what I want, to achieve the works that I make, I have to be fully committed to them succeeding. I couldn’t make them otherwise. And you cannot feel that commitment without feeling or having a deep sense of loss when they do collapse or fail, and that’s inevitable.\u003c/p>\n\u003cp>\u003cstrong>On working with ice\u003c/strong>\u003c/p>\n\u003cp>We generally don’t get these severe winters [in Britain] and when it does get below freezing and it’s cold enough for ice to form, then that changes the whole landscape and it makes the landscape a different landscape to the one that I’ve worked with previously. And I want to understand that — the relationship of cold, or what the cold is, to the land. Many of the things that I’ve done in ice almost reflect those things that I’ve done in stone, so you can learn a lot about stone by working with ice, and I can learn a lot about ice by working with stone.\u003c/p>\n\u003cp>But the big tension of the ice works is that they’re often made when it’s cold enough to freeze one piece of ice to another, and the temperature very rarely stays below freezing all day long in Britain. So I typically will get up very, very early, when it’s dark, and I’ll start working in the dark, which can be difficult because I can’t really see what I’m doing. So I can freeze ice to ice and I can work very, very quickly, and then the temperature starts to rise, and the work slows down. And then, if it stops freezing, the work collapses. But if I can get through the midday period, then I often try to find places where the sun can’t reach. … There’s a huge number of things that are occurring with the ice works which fascinate me enormously, but it’s driven by this kind of frantic race against time.\u003c/p>\n\u003cp>\u003cstrong>On “rain shadows” \u003c/strong>\u003c/p>\n\u003cp>These are outdoor works. So when it rains, I lay down or I find a surface quickly that I think will produce a good rain shadow, and I lay there, and when it’s wet enough, I get up and there is left me — my imprint, my shadow. That sounds really quite simple, but it is beautifully complex. … Sometimes it stops raining when I’m half-way through. Sometimes I can lie there for an hour waiting for the rain. And other times it’s over in four or five seconds. Often I do them on video, so you have the whole film of laying down and then me getting up and leaving the shadow. …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I just concentrate on the rain. I’ve learned so much about rain — the different kinds of rains, the rhythms of rains. And people will say, “Oh, why don’t you just use a hose pipe?” That would be totally pointless. The point is not just to make the shadow, it’s to understand the rain that falls and the relationship with rain and the different rhythms of different rainfalls. \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=Sculptor+Turns+Rain%2C+Ice+And+Trees+Into+%27Ephemeral+Works%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11003385/sculptor-turns-rain-ice-and-trees-into-ephemeral-works",
"authors": [
"byline_arts_11003385"
],
"categories": [
"arts_73",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11003395",
"label": "arts_137"
},
"arts_10999485": {
"type": "posts",
"id": "arts_10999485",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10999485",
"score": null,
"sort": [
1444158969000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1444158969,
"format": "standard",
"title": "Punk Icon Patti Smith Releases Second Memoir, 'M Train'",
"headTitle": "Punk Icon Patti Smith Releases Second Memoir, ‘M Train’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \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=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 868,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705046224,
"excerpt": "Singer Patti Smith's latest book is a poetic, free-flowing memoir. In 2010, her memoir \u003cem>Just Kids\u003c/em> — about her relationship with photographer Robert Mapplethorpe — won a National Book Award.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Singer Patti Smith's latest book is a poetic, free-flowing memoir. In 2010, her memoir Just Kids — about her relationship with photographer Robert Mapplethorpe — won a National Book Award.",
"title": "Punk Icon Patti Smith Releases Second Memoir, 'M Train' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Punk Icon Patti Smith Releases Second Memoir, 'M Train'",
"datePublished": "2015-10-06T12:16:09-07:00",
"dateModified": "2024-01-11T23:57:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "punk-icon-patti-smith-releases-second-memoir-m-train",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=445943695&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Neda Ulaby",
"nprStoryDate": "Mon, 05 Oct 2015 05:06:00 -0400",
"nprLastModifiedDate": "Mon, 05 Oct 2015 15:17:53 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/05/445943695/punk-icon-patti-smith-releases-second-memoir-m-train?ft=nprml&f=445943695",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2015/10/20151005_me_punk_icon_patti_smith_releases_second_memoir_m_train.mp3?orgId=1&topicId=1033&d=415&p=3&story=445943695&t=progseg&e=445936980&seg=8&ft=nprml&f=445943695",
"nprAudioM3u": "http://api.npr.org/m3u/1445943696-0a7768.m3u?orgId=1&topicId=1033&d=415&p=3&story=445943695&t=progseg&e=445936980&seg=8&ft=nprml&f=445943695",
"nprStoryId": "445943695",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 05 Oct 2015 15:17:00 -0400",
"path": "/arts/10999485/punk-icon-patti-smith-releases-second-memoir-m-train",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2015/10/20151005_me_punk_icon_patti_smith_releases_second_memoir_m_train.mp3?orgId=1&topicId=1033&d=415&p=3&story=445943695&t=progseg&e=445936980&seg=8&ft=nprml&f=445943695",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\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>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \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=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10999485/punk-icon-patti-smith-releases-second-memoir-m-train",
"authors": [
"byline_arts_10999485"
],
"categories": [
"arts_73",
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10999486",
"label": "arts_137"
},
"arts_10998642": {
"type": "posts",
"id": "arts_10998642",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10998642",
"score": null,
"sort": [
1444143634000
]
},
"guestAuthors": [],
"slug": "american-apparel-best-known-for-racy-ads-files-for-chapter-11-bankruptcy",
"title": "American Apparel, Best Known for Racy Ads, Files for Chapter 11 Bankruptcy",
"publishDate": 1444143634,
"format": "standard",
"headTitle": "American Apparel, Best Known for Racy Ads, Files for Chapter 11 Bankruptcy | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.usatoday.com/story/money/2015/10/05/american-apparel-files-chapter-11-bankruptcy/73365964/\" target=\"_blank\" rel=\"noopener\">USA Today reports\u003c/a> that since his removal as CEO, Charney has sued American Apparel. The publication also reports the company has not held up well in the face of other competitors vying for young consumers.\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel, which flirted with bankruptcy as early as 2011, has about 8,500 employees at six factories and 230 stores in the U.S. and 17 countries. The company famously bet its business model on clothing made in the U.S.\u003c/p>\n\u003cp>“The company said in a court filing that it plans to shed unprofitable stores, though it did not identify how many.\u003c/p>\n\u003cp>“American Apparel has slumped in competition with agile retailers such as H&M and Forever 21 that have appealed to Millennial consumers with cheaper, more fashionable products.”\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=American+Apparel%2C+Best+Known+For+Racy+Ads%2C+Files+For+Chapter+11+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The retailer says it has a reorganization agreement with 95 percent of its secured lenders. The company has struggled since last year's ouster of its founder and chief executive officer Dov Charney.",
"status": "publish",
"parent": 0,
"modified": 1726788375,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 529
},
"headData": {
"title": "American Apparel, Best Known for Racy Ads, Files for Chapter 11 Bankruptcy | KQED",
"description": "The retailer says it has a reorganization agreement with 95 percent of its secured lenders. The company has struggled since last year's ouster of its founder and chief executive officer Dov Charney.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "American Apparel, Best Known for Racy Ads, Files for Chapter 11 Bankruptcy",
"datePublished": "2015-10-06T08:00:34-07:00",
"dateModified": "2024-09-19T16:26:15-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Brakkton Booker",
"nprStoryId": "446075177",
"nprApiLink": "http://api.npr.org/query?id=446075177&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/10/05/446075177/american-apparel-best-known-for-racy-ads-files-for-chapter-11-bankruptcy?ft=nprml&f=446075177",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 05 Oct 2015 17:19:00 -0400",
"nprStoryDate": "Mon, 05 Oct 2015 16:37:00 -0400",
"nprLastModifiedDate": "Mon, 05 Oct 2015 17:19:24 -0400",
"path": "/arts/10998642/american-apparel-best-known-for-racy-ads-files-for-chapter-11-bankruptcy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.usatoday.com/story/money/2015/10/05/american-apparel-files-chapter-11-bankruptcy/73365964/\" target=\"_blank\" rel=\"noopener\">USA Today reports\u003c/a> that since his removal as CEO, Charney has sued American Apparel. The publication also reports the company has not held up well in the face of other competitors vying for young consumers.\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel, which flirted with bankruptcy as early as 2011, has about 8,500 employees at six factories and 230 stores in the U.S. and 17 countries. The company famously bet its business model on clothing made in the U.S.\u003c/p>\n\u003cp>“The company said in a court filing that it plans to shed unprofitable stores, though it did not identify how many.\u003c/p>\n\u003cp>“American Apparel has slumped in competition with agile retailers such as H&M and Forever 21 that have appealed to Millennial consumers with cheaper, more fashionable products.”\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=American+Apparel%2C+Best+Known+For+Racy+Ads%2C+Files+For+Chapter+11+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10998642/american-apparel-best-known-for-racy-ads-files-for-chapter-11-bankruptcy",
"authors": [
"byline_arts_10998642"
],
"categories": [
"arts_76",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10998643",
"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": 2232,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_11033215",
"arts_11033111",
"arts_11028150",
"arts_11023981",
"arts_11019328",
"arts_11011943",
"arts_11009719",
"arts_11006565",
"arts_11001376",
"arts_11003385",
"arts_10999485",
"arts_10998642"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_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_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_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"
}
},
"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
}
}
