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_10995679": {
"type": "attachments",
"id": "arts_10995679",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10995679",
"found": true
},
"parent": 10995678,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-400x262.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 262
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-960x629.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 629
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6.jpg",
"width": 5193,
"height": 3404
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-1180x773.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 773
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-800x524.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 524
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-1920x1259.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1259
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-1180x773.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 773
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/gettyimages-458687958_custom-7affb21876685eb915fed4d9c3db95063ed9a5f6-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1443981362,
"modified": 1443981362,
"caption": null,
"description": "Dmitri Vrubel's painting of the Soviet Union's Leonid Brezhnev and East Germany's Erich Honecker kissing — under a Russian phrase that reads, \"My God, Help Me to Survive This Deadly Love\" — is a popular part of the East Side Gall",
"title": "Dmitri Vrubel's painting of the Soviet Union's Leonid Brezhnev and East Germany's Erich Honecker kissing — under a Russian phrase that reads, \"My God, Help Me to Survive This Deadly Love\" — is a popular part of the East Side Gallery.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10991725": {
"type": "attachments",
"id": "arts_10991725",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10991725",
"found": true
},
"parent": 10991724,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-e1444241195622.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/the-martian-df-20584rv2_rgb_wide-5ccb2a3ba3f539643adae106a0ba2202de797e25-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1443797059,
"modified": 1444241190,
"caption": "Astronaut Mark Watney (Matt Damon) faces insurmountable odds as he tries to survive on a hostile planet.",
"description": null,
"title": null,
"credit": "Photo: Aidan Monaghan/Twentieth Century Fox",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10990156": {
"type": "attachments",
"id": "arts_10990156",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10990156",
"found": true
},
"parent": 10990146,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/dumas-orange-e1443725128308-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1443725072,
"modified": 1443725096,
"caption": "Henry Dumas (from left), William G. Davis and Eugene B. Redmond in 1967, during their tenure as teacher-counselors at the Experiment in Higher Education at Southern Illinois University.",
"description": "Henry Dumas (from left), William G. Davis and Eugene B. Redmond in 1967, during their tenure as teacher-counselors at the Experiment in Higher Education at Southern Illinois University.",
"title": "dumas-orange",
"credit": "Courtesy: Eugene B. Redmond",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10984749": {
"type": "attachments",
"id": "arts_10984749",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10984749",
"found": true
},
"parent": 10984748,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa.jpg",
"width": 3000,
"height": 1998
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/baryshnikovartscenter0247_custom-ae25742aac293ddcb225128106292bba4a79b7aa-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1443485967,
"modified": 1443485967,
"caption": null,
"description": "Dancer Mikhail Baryshnikov poses for a portrait at the Baryshnikov Arts Center in New York City in July. The center, a multidisciplinary practice and performance space, opened in 2005.",
"title": "Dancer Mikhail Baryshnikov poses for a portrait at the Baryshnikov Arts Center in New York City in July. The center, a multidisciplinary practice and performance space, opened in 2005.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10984137": {
"type": "attachments",
"id": "arts_10984137",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10984137",
"found": true
},
"parent": 10984136,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015.jpg",
"width": 3500,
"height": 1968
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/59910181_h39684952_wide-9025fe7fcef662d120f4c5a12fdc730e3acfb015-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1443467007,
"modified": 1443467007,
"caption": null,
"description": "The sun sets on Banksy's 'Dismaland' in Weston-super-Mare England. The art exhibit, billed as a \"bemusement park,\" closed permanently on Sunday, Sept. 27",
"title": "The sun sets on Banksy's 'Dismaland' in Weston-super-Mare England. The art exhibit, billed as a \"bemusement park,\" closed permanently on Sunday, Sept. 27.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10981401": {
"type": "attachments",
"id": "arts_10981401",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10981401",
"found": true
},
"parent": 10981400,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b.jpg",
"width": 1820,
"height": 1023
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/lampooncredit-michael-gold_wide-ba086a28435930d46124af3592604ba2589dce5b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1443337777,
"modified": 1443337777,
"caption": null,
"description": "Lampooners Garry Goodrow, Alice Peyton, Christopher Guest, John Belushi, Peter Elbling, Chevy Chase and Tony Hendra in this undated photo from \u003cem>Drunk Stoned Brilliant Dead</em",
"title": "Lampooners Garry Goodrow, Alice Peyton, Christopher Guest, John Belushi, Peter Elbling, Chevy Chase and Tony Hendra in this undated photo from Drunk Stoned Brilliant Dead.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10978187": {
"type": "attachments",
"id": "arts_10978187",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10978187",
"found": true
},
"parent": 10978184,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover.jpg",
"width": 1920,
"height": 1078
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-1920x1078.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1078
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/MommyCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1443186909,
"modified": 1443186942,
"caption": "Susanne Wuest plays a mother who has returned home to her children after reconstructive surgery in 'Goodnight Mommy.' (Photo: RADiUS)",
"description": null,
"title": "MommyCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10692093": {
"type": "attachments",
"id": "news_10692093",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10692093",
"found": true
},
"parent": 10692092,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-400x534.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 534
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-960x1281.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 1281
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885.jpg",
"width": 1810,
"height": 2416
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-1440x1922.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1922
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-800x1068.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 1068
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-1180x1575.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1575
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/gettyimages-71276321_vert-85b87e0c13f31e33f2588f733f5b338342135885-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1442853131,
"modified": 1442853131,
"caption": null,
"description": "Actor Jack Larson, who played a cub reporter at \u003cem>The Daily Planet\u003c/em>, has died at 87. He's seen here at the premiere of \u003cem>Superman Returns\u003c/em> in 2006.",
"title": "Actor Jack Larson, who played a cub reporter at The Daily Planet, has died at 87. He's seen here at the premiere of Superman Returns in 2006.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10960292": {
"type": "attachments",
"id": "arts_10960292",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10960292",
"found": true
},
"parent": 10960288,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/cominghomeCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1442346590,
"modified": 1442346633,
"caption": "Feng Wanyu (Gong Li) has an intense desire to see her husband again, but an utter inability to recognize him when she does. (Photo: Sony Pictures Classics)",
"description": null,
"title": "cominghomeCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10947221": {
"type": "attachments",
"id": "arts_10947221",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10947221",
"found": true
},
"parent": 10947220,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d.jpg",
"width": 1350,
"height": 759
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441829442,
"modified": 1441830666,
"caption": "In 'Steve Jobs: The Man in the Machine,' director Alex Gibney turns a critical lens on the Apple co-founder and his products. (Photo: Magnolia Pictures)",
"description": null,
"title": "In Steve Jobs: The Man in the Machine, director Alex Gibney turns a critical lens on the Apple co-founder and his products.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10934826": {
"type": "attachments",
"id": "arts_10934826",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10934826",
"found": true
},
"parent": 10934825,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332.jpg",
"width": 1890,
"height": 1063
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/thesecondmother_by-alinearruda-aa_7641_wide-68b13b066e6cfa758656de466edf6da4d00c5332-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441326820,
"modified": 1441327000,
"caption": "Regina Casé as Val in 'The Second Mother.' (Photo: Courtesy of Oscilloscope Laboratories)",
"description": null,
"title": null,
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10932466": {
"type": "attachments",
"id": "arts_10932466",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10932466",
"found": true
},
"parent": 10932465,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3.jpg",
"width": 2822,
"height": 1587
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/ap_747894194033_wide-bd0db7b952cae9ec5ddf4cd0543ecd4dc076e7f3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441235395,
"modified": 1441235395,
"caption": null,
"description": "Actor Dean Jones, seen here in 1966, died Tuesday at age 84. Jones starred in 10 Disney films, including \u003cem>That Darn Cat!\u003c/em>",
"title": "Actor Dean Jones, seen here in 1966, died Tuesday at age 84. Jones starred in 10 Disney films, including That Darn Cat!",
"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_10995678": {
"type": "authors",
"id": "byline_arts_10995678",
"meta": {
"override": true
},
"slug": "byline_arts_10995678",
"name": "Irene Noguchi",
"isLoading": false
},
"byline_arts_10991724": {
"type": "authors",
"id": "byline_arts_10991724",
"meta": {
"override": true
},
"slug": "byline_arts_10991724",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_10990146": {
"type": "authors",
"id": "byline_arts_10990146",
"meta": {
"override": true
},
"slug": "byline_arts_10990146",
"name": "Beenish Ahmed",
"isLoading": false
},
"byline_arts_10984748": {
"type": "authors",
"id": "byline_arts_10984748",
"meta": {
"override": true
},
"slug": "byline_arts_10984748",
"name": "Elizabeth Blair",
"isLoading": false
},
"byline_arts_10984136": {
"type": "authors",
"id": "byline_arts_10984136",
"meta": {
"override": true
},
"slug": "byline_arts_10984136",
"name": "Laura Wagner",
"isLoading": false
},
"byline_arts_10981400": {
"type": "authors",
"id": "byline_arts_10981400",
"meta": {
"override": true
},
"slug": "byline_arts_10981400",
"name": "NPR Staff",
"isLoading": false
},
"byline_arts_10978184": {
"type": "authors",
"id": "byline_arts_10978184",
"meta": {
"override": true
},
"slug": "byline_arts_10978184",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_news_10692092": {
"type": "authors",
"id": "byline_news_10692092",
"meta": {
"override": true
},
"slug": "byline_news_10692092",
"name": "\u003cstrong>\u003ca href=\"http://www.npr.org/people/14562108/bill-chappell\" target=\"_blank\">Bill Chappell\u003c/a>\u003cbr />NPR\u003c/strong>",
"isLoading": false
},
"byline_arts_10960288": {
"type": "authors",
"id": "byline_arts_10960288",
"meta": {
"override": true
},
"slug": "byline_arts_10960288",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_10947220": {
"type": "authors",
"id": "byline_arts_10947220",
"meta": {
"override": true
},
"slug": "byline_arts_10947220",
"name": "Laura Sydell",
"isLoading": false
},
"byline_arts_10934825": {
"type": "authors",
"id": "byline_arts_10934825",
"meta": {
"override": true
},
"slug": "byline_arts_10934825",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_10932465": {
"type": "authors",
"id": "byline_arts_10932465",
"meta": {
"override": true
},
"slug": "byline_arts_10932465",
"name": "Bill Chappell",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262148
},
"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": 188
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 188
}
},
{
"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_10995678": {
"type": "posts",
"id": "arts_10995678",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10995678",
"score": null,
"sort": [
1443981686000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1443981686,
"format": "standard",
"title": "Historic Art, Luxury Apartments Battle Over Berlin's Famous Wall",
"headTitle": "Historic Art, Luxury Apartments Battle Over Berlin’s Famous Wall | KQED",
"content": "\u003cp>When the Berlin Wall fell in November 1989, Kani Alavi was a young artist living in an apartment overlooking the border between East and West Berlin. He remembers seeing East Berliners streaming through “like a wave of water,” he said through an interpreter. “Some were joyful, some were doubtful, some were afraid they might not [have the chance to] cross again.”\u003c/p>\n\u003cp>Alavi painted that moment: a flowing river of faces he calls “Es geschah im November,” or “It happened in November.”\u003c/p>\n\u003cp>Today, tourists can see that painting, alongside more than 100 others, covering a nearly mile-long stretch of the original cement Berlin Wall. It’s called the East Side Gallery.\u003c/p>\n\u003cp>Alavi and a group of artists created it in 1990, soon after the wall fell. They wanted to preserve part of history, and felt it was symbolic to paint on the East side — which was blank during the East-West division, since East German soldiers patrolled the area dubbed the “death strip.”\u003c/p>\n\u003cfigure id=\"attachment_10995680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg\" alt=\"Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He's fighting proposed development that would overshadow, relocate or remove segments of the gallery. "The fight to keep this wall intact, to preserve it, has become [my] life," he says.\" width=\"640\" height=\"480\" class=\"size-large wp-image-10995680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He’s fighting proposed development that would overshadow, relocate or remove segments of the gallery. “The fight to keep this wall intact, to preserve it, has become [my] life,” he says. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s covered in colorful paintings, including one depicting the famous “kiss” between former Soviet head Leonid Brezhnev and East German leader Erich Honecker. The open-air gallery gets an estimated 800,000 visitors each year, including graffiti artists and vandals who scribble across the colorful paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for Alavi, the wall’s biggest threat isn’t vandalism. It’s developers.\u003c/p>\n\u003cp>Alavi and his supporters have spent the past few years fighting developers from building alongside the gallery wall. While he has taken some to court and won, one developer managed to get building permits off Alavi’s radar and recently constructed a luxury tower. The 14-story building with aquamarine windows overlooks the nearby Spree River, and as of this spring, had reportedly sold 80 percent of its units.\u003c/p>\n\u003cp>When construction started two years ago, 6,000 protesters showed up — including former \u003cem>Baywatch\u003c/em> actor David Hasselhoff, who happens to be a popular singer in Germany. (He sang “Looking for Freedom,” which he originally performed at the Berlin Wall in 1989 before a pro-reunification crowd.)\u003c/p>\n\u003cfigure id=\"attachment_10995681\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg\" alt=\"A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi.\" width=\"640\" height=\"809\" class=\"size-large wp-image-10995681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg 934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-475x600.jpg 475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1920x2427.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1180x1491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-960x1213.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But 10 days later, construction workers removed a 6-meter portion of the wall under heavy police protection, so they could start building. A hotel was also granted a building permit right next to the luxury tower, though no construction date is set.\u003c/p>\n\u003cp>Standing in front of his painting on the wall, Kani says he hopes the East Side Gallery will one day become a UNESCO World Heritage site and be protected from further development. But the shiny new apartments tower behind him, and tourists strain to hear him above the rush of traffic.\u003c/p>\n\u003cp>It might seem like a losing battle (the Mercedes-Benz Arena sits right across the street, and already had part of the wall sliced out and relocated for an unobstructed view of the water). But Alavi feels it’s crucial to preserve the Berlin Wall so people remember the struggle for reunification, and how borders are treated as barriers — especially in light of Germany’s migrant crisis today.\u003c/p>\n\u003cp>German Chancellor Angela Merkel made the controversial announcement earlier this summer that the country would take in 800,000 refugees — far more than any European Union nation. The media photos of Syrians streaming across the border look eerily similar to Alavi’s own painting of East Berliners crossing the Berlin Wall.\u003c/p>\n\u003cp>“This painting has determined my future for 25 years,” says Alavi, who migrated from Iran himself in 1980. “The fight to keep this wall intact, to preserve it, has become [my] life.”\u003c/p>\n\u003cp>In 2011, Germany awarded him the prestigious Federal Cross of Merit for his efforts. Then in March 2014, he gave the South Korean president Park Geun-hye a tour of the East Side Gallery. She invited him to build a similar version along the DMZ border between North and South Korea, which he says will begin construction next year.\u003c/p>\n\u003cp>As Germany celebrates 25 years of reunification this Saturday, Alavi says, “We should get rid of psychological walls in our minds and our heads … to get rid of the physical walls around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, the man who was inspired by the fall of a wall is now determined to keep this one standing. It’s a physical reminder of the borders people once crossed, and the change that is possible. \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=Historic+Art%2C+Luxury+Apartments+Battle+Over+Berlin%27s+Famous+Wall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 849,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705046240,
"excerpt": "A stretch of the old Berlin Wall has stood for decades as an open-air gallery, covered in fine art and graffiti. Bids for luxury developments in the area have artists hitting the streets in protest.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A stretch of the old Berlin Wall has stood for decades as an open-air gallery, covered in fine art and graffiti. Bids for luxury developments in the area have artists hitting the streets in protest.",
"title": "Historic Art, Luxury Apartments Battle Over Berlin's Famous Wall | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Historic Art, Luxury Apartments Battle Over Berlin's Famous Wall",
"datePublished": "2015-10-04T11:01:26-07:00",
"dateModified": "2024-01-11T23:57:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "historic-art-luxury-apartments-battle-over-berlins-famous-wall",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=445583612&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Irene Noguchi",
"nprStoryDate": "Sat, 03 Oct 2015 19:20:00 -0400",
"nprLastModifiedDate": "Sat, 03 Oct 2015 20:59:15 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/parallels/2015/10/03/445583612/historic-art-luxury-apartments-battle-over-berlins-famous-wall?ft=nprml&f=445583612",
"nprStoryId": "445583612",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 03 Oct 2015 20:59:00 -0400",
"path": "/arts/10995678/historic-art-luxury-apartments-battle-over-berlins-famous-wall",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Berlin Wall fell in November 1989, Kani Alavi was a young artist living in an apartment overlooking the border between East and West Berlin. He remembers seeing East Berliners streaming through “like a wave of water,” he said through an interpreter. “Some were joyful, some were doubtful, some were afraid they might not [have the chance to] cross again.”\u003c/p>\n\u003cp>Alavi painted that moment: a flowing river of faces he calls “Es geschah im November,” or “It happened in November.”\u003c/p>\n\u003cp>Today, tourists can see that painting, alongside more than 100 others, covering a nearly mile-long stretch of the original cement Berlin Wall. It’s called the East Side Gallery.\u003c/p>\n\u003cp>Alavi and a group of artists created it in 1990, soon after the wall fell. They wanted to preserve part of history, and felt it was symbolic to paint on the East side — which was blank during the East-West division, since East German soldiers patrolled the area dubbed the “death strip.”\u003c/p>\n\u003cfigure id=\"attachment_10995680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg\" alt=\"Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He's fighting proposed development that would overshadow, relocate or remove segments of the gallery. "The fight to keep this wall intact, to preserve it, has become [my] life," he says.\" width=\"640\" height=\"480\" class=\"size-large wp-image-10995680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He’s fighting proposed development that would overshadow, relocate or remove segments of the gallery. “The fight to keep this wall intact, to preserve it, has become [my] life,” he says. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s covered in colorful paintings, including one depicting the famous “kiss” between former Soviet head Leonid Brezhnev and East German leader Erich Honecker. The open-air gallery gets an estimated 800,000 visitors each year, including graffiti artists and vandals who scribble across the colorful paintings.\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 for Alavi, the wall’s biggest threat isn’t vandalism. It’s developers.\u003c/p>\n\u003cp>Alavi and his supporters have spent the past few years fighting developers from building alongside the gallery wall. While he has taken some to court and won, one developer managed to get building permits off Alavi’s radar and recently constructed a luxury tower. The 14-story building with aquamarine windows overlooks the nearby Spree River, and as of this spring, had reportedly sold 80 percent of its units.\u003c/p>\n\u003cp>When construction started two years ago, 6,000 protesters showed up — including former \u003cem>Baywatch\u003c/em> actor David Hasselhoff, who happens to be a popular singer in Germany. (He sang “Looking for Freedom,” which he originally performed at the Berlin Wall in 1989 before a pro-reunification crowd.)\u003c/p>\n\u003cfigure id=\"attachment_10995681\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg\" alt=\"A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi.\" width=\"640\" height=\"809\" class=\"size-large wp-image-10995681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg 934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-475x600.jpg 475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1920x2427.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1180x1491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-960x1213.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But 10 days later, construction workers removed a 6-meter portion of the wall under heavy police protection, so they could start building. A hotel was also granted a building permit right next to the luxury tower, though no construction date is set.\u003c/p>\n\u003cp>Standing in front of his painting on the wall, Kani says he hopes the East Side Gallery will one day become a UNESCO World Heritage site and be protected from further development. But the shiny new apartments tower behind him, and tourists strain to hear him above the rush of traffic.\u003c/p>\n\u003cp>It might seem like a losing battle (the Mercedes-Benz Arena sits right across the street, and already had part of the wall sliced out and relocated for an unobstructed view of the water). But Alavi feels it’s crucial to preserve the Berlin Wall so people remember the struggle for reunification, and how borders are treated as barriers — especially in light of Germany’s migrant crisis today.\u003c/p>\n\u003cp>German Chancellor Angela Merkel made the controversial announcement earlier this summer that the country would take in 800,000 refugees — far more than any European Union nation. The media photos of Syrians streaming across the border look eerily similar to Alavi’s own painting of East Berliners crossing the Berlin Wall.\u003c/p>\n\u003cp>“This painting has determined my future for 25 years,” says Alavi, who migrated from Iran himself in 1980. “The fight to keep this wall intact, to preserve it, has become [my] life.”\u003c/p>\n\u003cp>In 2011, Germany awarded him the prestigious Federal Cross of Merit for his efforts. Then in March 2014, he gave the South Korean president Park Geun-hye a tour of the East Side Gallery. She invited him to build a similar version along the DMZ border between North and South Korea, which he says will begin construction next year.\u003c/p>\n\u003cp>As Germany celebrates 25 years of reunification this Saturday, Alavi says, “We should get rid of psychological walls in our minds and our heads … to get rid of the physical walls around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, the man who was inspired by the fall of a wall is now determined to keep this one standing. It’s a physical reminder of the borders people once crossed, and the change that is possible. \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=Historic+Art%2C+Luxury+Apartments+Battle+Over+Berlin%27s+Famous+Wall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10995678/historic-art-luxury-apartments-battle-over-berlins-famous-wall",
"authors": [
"byline_arts_10995678"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10995679",
"label": "arts_137"
},
"arts_10991724": {
"type": "posts",
"id": "arts_10991724",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10991724",
"score": null,
"sort": [
1443744180000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1443744180,
"format": "standard",
"title": "Ridley Scott Finds An Optimistic Space In 'The Martian'",
"headTitle": "Ridley Scott Finds An Optimistic Space In ‘The Martian’ | KQED",
"content": "\u003cp>The filmmaker who did more than any other to bum us all out about space travel now wants us to feel inspired by it again.\u003c/p>\n\u003cp>That’s the rough arithmetic behind \u003cem>The Martian,\u003c/em> the feel-good (and real good), NASA-condoned, Damon-powered survival adventure flick from director Ridley Scott. More a visual stylist than an exponent of any particular worldview, Scott made the feminist road movie \u003cem>Thelma and Louise\u003c/em>, the Best Picture-winning swords-and-sandals epic \u003cem>Gladiator,\u003c/em> and about 20 other features\u003cem>. \u003c/em>But the two that’ll have their titles chiseled on his tombstone are still his second and third, \u003cem>Alien\u003c/em> and \u003cem>Blade Runner.\u003c/em> Set, respectively, in the 22nd century and, um, 2019, this influential pair shared a vision of the future that can be summed up in one word:\u003c/p>\n\u003cp>\u003cem>Worse.\u003c/em>\u003c/p>\n\u003cp>Released just a decade after Neil Armstrong’s great leap for mankind, \u003cem>Alien \u003c/em>imagined our manifest interplanetary destiny as utterly routine — a mercenary endeavor carried out by working stiffs who don’t especially like or trust one another, all on the payroll of a powerful corporation that doesn’t blink before sacrificing their lives. \u003cem>Crew Expendable,\u003c/em> the secret orders in the ship’s computer said.\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em> resoundingly rejects all that. Bright, thematically can-do, fast-paced almost to a fault, and fundamentally optimistic, \u003cem>The Martian\u003c/em> is science fiction of the infinitely more comforting \u003cem>Star Trek\u003c/em> strain. \u003cem>We will solve this daunting problem by working together, \u003c/em>it coos. When someone decodes a secret message in \u003cem>this\u003c/em> movie, it isn’t a death order. It’s a lifeline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?t=2&v=ej3ioOneTy8\u003c/p>\n\u003cp>Adapted intact by geek-TV veteran Drew Goddard from computer programmer Andy Weir’s (initially) self-published novel, \u003cem>The Martian\u003c/em> avers that humanity’s interplanetary ambassadors — the few up there aboard the \u003cem>Hermes\u003c/em> and the many supporting them back here on Earth — will be the noblest, most inventive, most courageous of us. No wonder NASA loves this movie. But even adjusting for flattery, it’s an easy film to love — one so suspenseful and funny and just richly, consistently \u003cem>good,\u003c/em> you might get mad at it falling a few astronomical units short of great. If it gets a generation of seventh-graders fired up about science, I’ll happily swallow my nitpicks about overcaffeinated pacing and underdeveloped relationships, \u003cem>wah wah wah.\u003c/em>\u003c/p>\n\u003cp>For those who haven’t read Weir’s wildly clever and original book, it’s almost a spoiler to say there are no cowards or backstabbers or greedheads in \u003cem>The Martian, \u003c/em>and precious few tortured pragmatists. The story’s big and only bad is the hostile countryside of the Red Planet (played onscreen by Wadi Rum, Jordan, star of \u003cem>Lawrence of Arabia,\u003c/em> among others), where Mark Watney — the indefatigable botanist-astronaut played by Matt Damon — finds himself stranded after his crewmates leave him for dead. (It’s \u003cem>not their fault,\u003c/em> in the parlance of an old Matt Damon movie.) Stirred from his slumber by a low-oxygen alarm in his spacesuit, Watney binds his wounds (this is the second Ridley Scott joint in recent years to feature graphic stomach-stapling), and starts puzzling out how to keep himself from exploding, suffocating, freezing or starving until the next Mars expedition lands.\u003c/p>\n\u003cp>In four years.\u003c/p>\n\u003cp>In a spot thousands of barren kilometers away.\u003c/p>\n\u003cp>If the more craven among our species (hey, what are you looking at \u003cem>me\u003c/em> for?) might’ve liked to see Damon lean into the crushing isolation and hopelessness of Watney’s predicament just a \u003cem>little\u003c/em> harder — an existential reckoning also absent from Weir’s novel — it’s still enormously satisfying to watch him MacGyver his way out of one malice-free deathtrap, then another and another. And all he can do to celebrate another day of livin’ is maybe sprinkle some Vicodin on his half-a-potato dinner and raid a crewmate’s stash of ’70s TV shows and music — a running joke that gives the movie license to indulge in some on-the-nose-but-welcome song selections, notably David Bowie’s “Starman” and that one by Gloria Gaynor.\u003c/p>\n\u003cp>The film’s clean, airy look comes courtesy of the same production designer, cinematographer and editor with whom Scott collaborated on his prior, decidedly less scientific sci-fi, 2012’s \u003cem>Prometheus. \u003c/em>While he and Damon are both in fine form here, it’s ultimately Weir’s genius that their work preserves. He’s the guy who figured out how Watney might convert hydrazine (rocket fuel) into water, grow food, and even phone home — an SOS that spurs NASA to put everything aside and devote all its mighty human and material resources to Watney’s rescue. In space, no one can hear you scream, but here on Earth? Hey, guy: \u003cem>Everyone\u003c/em> is working around the clock and cheering and praying just for you.\u003c/p>\n\u003cp>Can it possibly be worth it? This interruption of a grander mission to save a single life? Watney, like his crewmates, is clearly prepared to sacrifice himself in the name of scientific progress. Jeff Daniels, as the administrator of NASA — a decisive leader, where other movies would’ve made him a careerist worm — is the only person who even dares to ask. This insoluble moral calculus got more play in Weir’s book. It’s de-emphasized in the movie, perhaps because This Very Question was already mulled in \u003cem>Saving Private Ryan,\u003c/em> where the just-one-life in question was … uh, Matt Damon’s.\u003c/p>\n\u003cp>That examination isn’t the only casualty of \u003cem>The Martian\u003c/em>‘s compression, even at a 140-minute run time. We barely get to know Watney’s crewmates, for example, though they become key to his salvation. Led by Jessica Chastain’s steely eyed Commander Lewis (who gets a possibly negotiated more direct hand in the finale than she had in the book), they’re all smart and loyal and kinda dull and suspiciously good-looking even after many months in space. Indeed, \u003cem>The Martian\u003c/em> is one of several current films that populates even its smallest roles with actors who are more than capable, and yet so famous it becomes distracting: Chiwetel Ejiofor! Kristen Wiig! Kate Mara! Sean Bean! Donald Glover! (\u003cem>Black Mass\u003c/em> and \u003cem>Everest\u003c/em> suffer from this same weird syndrome.)\u003c/p>\n\u003cp>But it’s clearly Damon’s show. If it never quite seems like he’s hurting as much as he oughtta be — even when we catch a rare, late glimpse of his wizened, malnourished body — the depth of my investment in Watney’s survival still caught me surprise. (So I cried a little. Is that what you want me to say?) This resonant emotional chord isn’t the product of a single, masterful scene, like Tom Hanks’ silent dissolution at the end of \u003cem>Captain Phillips; \u003c/em>instead, it’s the accrued effect of a team of talented and committed professionals working in harmony toward a shared and noble end.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are worse ideas you could take away from a blockbuster.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1238,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705046251,
"excerpt": "Starring Matt Damon as a stranded astronaut, 'The Martian' retains the humor and ingenuity of Andy Weir's novel.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Starring Matt Damon as a stranded astronaut, 'The Martian' retains the humor and ingenuity of Andy Weir's novel.",
"title": "Ridley Scott Finds An Optimistic Space In 'The Martian' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ridley Scott Finds An Optimistic Space In 'The Martian'",
"datePublished": "2015-10-01T17:03:00-07:00",
"dateModified": "2024-01-11T23:57:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ridley-scott-finds-an-optimistic-space-in-the-martian",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=444735099&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Chris Klimek",
"nprStoryDate": "Thu, 01 Oct 2015 17:03:00 -0400",
"nprLastModifiedDate": "Fri, 02 Oct 2015 11:57:20 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/10/01/444735099/ridley-scott-finds-an-optimistic-space-in-the-martian?ft=nprml&f=444735099",
"nprStoryId": "444735099",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 02 Oct 2015 11:57:00 -0400",
"path": "/arts/10991724/ridley-scott-finds-an-optimistic-space-in-the-martian",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker who did more than any other to bum us all out about space travel now wants us to feel inspired by it again.\u003c/p>\n\u003cp>That’s the rough arithmetic behind \u003cem>The Martian,\u003c/em> the feel-good (and real good), NASA-condoned, Damon-powered survival adventure flick from director Ridley Scott. More a visual stylist than an exponent of any particular worldview, Scott made the feminist road movie \u003cem>Thelma and Louise\u003c/em>, the Best Picture-winning swords-and-sandals epic \u003cem>Gladiator,\u003c/em> and about 20 other features\u003cem>. \u003c/em>But the two that’ll have their titles chiseled on his tombstone are still his second and third, \u003cem>Alien\u003c/em> and \u003cem>Blade Runner.\u003c/em> Set, respectively, in the 22nd century and, um, 2019, this influential pair shared a vision of the future that can be summed up in one word:\u003c/p>\n\u003cp>\u003cem>Worse.\u003c/em>\u003c/p>\n\u003cp>Released just a decade after Neil Armstrong’s great leap for mankind, \u003cem>Alien \u003c/em>imagined our manifest interplanetary destiny as utterly routine — a mercenary endeavor carried out by working stiffs who don’t especially like or trust one another, all on the payroll of a powerful corporation that doesn’t blink before sacrificing their lives. \u003cem>Crew Expendable,\u003c/em> the secret orders in the ship’s computer said.\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em> resoundingly rejects all that. Bright, thematically can-do, fast-paced almost to a fault, and fundamentally optimistic, \u003cem>The Martian\u003c/em> is science fiction of the infinitely more comforting \u003cem>Star Trek\u003c/em> strain. \u003cem>We will solve this daunting problem by working together, \u003c/em>it coos. When someone decodes a secret message in \u003cem>this\u003c/em> movie, it isn’t a death order. It’s a lifeline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ej3ioOneTy8'\n title='//www.youtube.com/embed/ej3ioOneTy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Adapted intact by geek-TV veteran Drew Goddard from computer programmer Andy Weir’s (initially) self-published novel, \u003cem>The Martian\u003c/em> avers that humanity’s interplanetary ambassadors — the few up there aboard the \u003cem>Hermes\u003c/em> and the many supporting them back here on Earth — will be the noblest, most inventive, most courageous of us. No wonder NASA loves this movie. But even adjusting for flattery, it’s an easy film to love — one so suspenseful and funny and just richly, consistently \u003cem>good,\u003c/em> you might get mad at it falling a few astronomical units short of great. If it gets a generation of seventh-graders fired up about science, I’ll happily swallow my nitpicks about overcaffeinated pacing and underdeveloped relationships, \u003cem>wah wah wah.\u003c/em>\u003c/p>\n\u003cp>For those who haven’t read Weir’s wildly clever and original book, it’s almost a spoiler to say there are no cowards or backstabbers or greedheads in \u003cem>The Martian, \u003c/em>and precious few tortured pragmatists. The story’s big and only bad is the hostile countryside of the Red Planet (played onscreen by Wadi Rum, Jordan, star of \u003cem>Lawrence of Arabia,\u003c/em> among others), where Mark Watney — the indefatigable botanist-astronaut played by Matt Damon — finds himself stranded after his crewmates leave him for dead. (It’s \u003cem>not their fault,\u003c/em> in the parlance of an old Matt Damon movie.) Stirred from his slumber by a low-oxygen alarm in his spacesuit, Watney binds his wounds (this is the second Ridley Scott joint in recent years to feature graphic stomach-stapling), and starts puzzling out how to keep himself from exploding, suffocating, freezing or starving until the next Mars expedition lands.\u003c/p>\n\u003cp>In four years.\u003c/p>\n\u003cp>In a spot thousands of barren kilometers away.\u003c/p>\n\u003cp>If the more craven among our species (hey, what are you looking at \u003cem>me\u003c/em> for?) might’ve liked to see Damon lean into the crushing isolation and hopelessness of Watney’s predicament just a \u003cem>little\u003c/em> harder — an existential reckoning also absent from Weir’s novel — it’s still enormously satisfying to watch him MacGyver his way out of one malice-free deathtrap, then another and another. And all he can do to celebrate another day of livin’ is maybe sprinkle some Vicodin on his half-a-potato dinner and raid a crewmate’s stash of ’70s TV shows and music — a running joke that gives the movie license to indulge in some on-the-nose-but-welcome song selections, notably David Bowie’s “Starman” and that one by Gloria Gaynor.\u003c/p>\n\u003cp>The film’s clean, airy look comes courtesy of the same production designer, cinematographer and editor with whom Scott collaborated on his prior, decidedly less scientific sci-fi, 2012’s \u003cem>Prometheus. \u003c/em>While he and Damon are both in fine form here, it’s ultimately Weir’s genius that their work preserves. He’s the guy who figured out how Watney might convert hydrazine (rocket fuel) into water, grow food, and even phone home — an SOS that spurs NASA to put everything aside and devote all its mighty human and material resources to Watney’s rescue. In space, no one can hear you scream, but here on Earth? Hey, guy: \u003cem>Everyone\u003c/em> is working around the clock and cheering and praying just for you.\u003c/p>\n\u003cp>Can it possibly be worth it? This interruption of a grander mission to save a single life? Watney, like his crewmates, is clearly prepared to sacrifice himself in the name of scientific progress. Jeff Daniels, as the administrator of NASA — a decisive leader, where other movies would’ve made him a careerist worm — is the only person who even dares to ask. This insoluble moral calculus got more play in Weir’s book. It’s de-emphasized in the movie, perhaps because This Very Question was already mulled in \u003cem>Saving Private Ryan,\u003c/em> where the just-one-life in question was … uh, Matt Damon’s.\u003c/p>\n\u003cp>That examination isn’t the only casualty of \u003cem>The Martian\u003c/em>‘s compression, even at a 140-minute run time. We barely get to know Watney’s crewmates, for example, though they become key to his salvation. Led by Jessica Chastain’s steely eyed Commander Lewis (who gets a possibly negotiated more direct hand in the finale than she had in the book), they’re all smart and loyal and kinda dull and suspiciously good-looking even after many months in space. Indeed, \u003cem>The Martian\u003c/em> is one of several current films that populates even its smallest roles with actors who are more than capable, and yet so famous it becomes distracting: Chiwetel Ejiofor! Kristen Wiig! Kate Mara! Sean Bean! Donald Glover! (\u003cem>Black Mass\u003c/em> and \u003cem>Everest\u003c/em> suffer from this same weird syndrome.)\u003c/p>\n\u003cp>But it’s clearly Damon’s show. If it never quite seems like he’s hurting as much as he oughtta be — even when we catch a rare, late glimpse of his wizened, malnourished body — the depth of my investment in Watney’s survival still caught me surprise. (So I cried a little. Is that what you want me to say?) This resonant emotional chord isn’t the product of a single, masterful scene, like Tom Hanks’ silent dissolution at the end of \u003cem>Captain Phillips; \u003c/em>instead, it’s the accrued effect of a team of talented and committed professionals working in harmony toward a shared and noble end.\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>There are worse ideas you could take away from a blockbuster.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10991724/ridley-scott-finds-an-optimistic-space-in-the-martian",
"authors": [
"byline_arts_10991724"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10991725",
"label": "arts_137"
},
"arts_10990146": {
"type": "posts",
"id": "arts_10990146",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10990146",
"score": null,
"sort": [
1443726850000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1443726850,
"format": "standard",
"title": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop",
"headTitle": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop | KQED",
"content": "\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" 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/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" 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/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \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=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 3133,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 47
},
"modified": 1705046253,
"excerpt": "Dumas was a rising heavyweight black writer when a white cop shot and killed him in 1968. In the age of Black Lives Matter, it's an almost eerie story of a black life lost.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Dumas was a rising heavyweight black writer when a white cop shot and killed him in 1968. In the age of Black Lives Matter, it's an almost eerie story of a black life lost.",
"title": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop",
"datePublished": "2015-10-01T12:14:10-07:00",
"dateModified": "2024-01-11T23:57:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "henry-dumas-wrote-about-black-people-killed-by-cops-then-he-was-killed-by-a-cop",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=433229181&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Beenish Ahmed",
"nprStoryDate": "Thu, 01 Oct 2015 06:03:00 -0400",
"nprLastModifiedDate": "Thu, 01 Oct 2015 10:24:44 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/codeswitch/2015/10/01/433229181/henry-dumas-wrote-about-black-people-killed-by-cops-then-he-was-killed-by-a-cop?ft=nprml&f=433229181",
"nprStoryId": "433229181",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 01 Oct 2015 10:24:00 -0400",
"path": "/arts/10990146/henry-dumas-wrote-about-black-people-killed-by-cops-then-he-was-killed-by-a-cop",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\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>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" 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/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" 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/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \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=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10990146/henry-dumas-wrote-about-black-people-killed-by-cops-then-he-was-killed-by-a-cop",
"authors": [
"byline_arts_10990146"
],
"categories": [
"arts_73",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10990156",
"label": "arts_137"
},
"arts_10984748": {
"type": "posts",
"id": "arts_10984748",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10984748",
"score": null,
"sort": [
1443538808000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1443538808,
"format": "standard",
"title": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, 'You're the Boss'",
"headTitle": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, ‘You’re the Boss’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/442523821/444092393\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>When Mikhail Baryshnikov says, “I’m really afraid to get bored with myself,” he means it.\u003c/p>\n\u003cp>As one of the greatest ballet dancers in history, he’s captivated audiences around the world. He was also the artistic director of American Ballet Theatre, has danced to his own \u003ca href=\"https://www.youtube.com/watch?v=tw3AtnMg1xo\" target=\"_blank\" rel=\"noopener\">heartbeat\u003c/a>, had a run as Carrie Bradshaw’s part-time lover on HBO’s \u003cem>Sex and the City, \u003c/em>and so much more. (His list of credits and awards is long and eclectic.)\u003c/p>\n\u003cp>Today, at 67, Baryshnikov is still creating art of all kinds around the world. And on Monday, a gala in New York celebrated the 10th anniversary of the \u003ca href=\"http://bacnyc.org/\" target=\"_blank\" rel=\"noopener\">Baryshnikov Arts Center\u003c/a>, a space he created to give artists the freedom to explore and take risks.\u003c/p>\n\u003cp>\u003cstrong>Creating An Artist Nirvana\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10984750\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg\" alt=\"Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With such an exceptional, international career, you’d think the sign in front of his arts center would have “Baryshnikov” in lights, but actually you can barely see it. “Misha didn’t want this place to be called the Baryshnikov Arts Center,” says Georgiana Pickett, the center’s executive director. “He wanted it to be more global, and some wise people told him, ‘That’s not a good idea. Let’s put your name on it.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baryshnikov’s idea was to build a place where artists from different disciplines would come together. He had no interest in it being dance-only.\u003c/p>\n\u003cp>“Another dance company? Really, we are packed,” he says, referring to the numerous dance companies that call New York home. If he was going to create something for artists, at the top of his list was space, light and privacy — elements, he says, that are so important to the creative process. “Art-making is not a factory, with a few exceptions, of course — you know, like Jeff Koons or Andy Warhol. It’s a very slow and very fragile process. It took me 25, 30 years to really understand what actually it takes.”\u003c/p>\n\u003cp>Baryshnikov put up $1 million of his own money to build the center. With help from a small group of donors, he bought a portion of a six-story building in New York’s Hell’s Kitchen neighborhood. Today, after extensive renovations, the center has two state-of-the-art theaters and four studios.\u003c/p>\n\u003cp>For the artists lucky enough to get a residency, it’s nirvana.\u003c/p>\n\u003cp>\u003cstrong>‘In The Middle Of Possibility’\u003c/strong>\u003c/p>\n\u003cp>Vocalist and songwriter \u003ca href=\"http://www.somimusic.com/\" target=\"_blank\" rel=\"noopener\">Somi\u003c/a> is rehearsing in a light-filled studio that overlooks the Hudson River. “This is such a glorious space because you’ve got these high windows and you’re surrounded by the city,” she says. “And being in the middle of New York, right, it’s like you’re in the middle of possibility.”\u003c/p>\n\u003cfigure id=\"attachment_10984833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-800x533.jpg\" alt=\"Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But “possibility” in the middle of New York is wildly expensive, and most artists can’t afford to live in the city. Executive Director Georgiana Pickett says, “It’s one of the reasons we exist … because New York is experiencing a hemorrhaging of its cultural capital. You know, people are leaving. They can’t do it anymore.”\u003c/p>\n\u003cp>Baryshnikov is more sanguine. “It’s no secret that in ’70s and ’80s, New York City [was a] friendlier city for younger people, and more affordable,” he says. “And it’s tougher and tougher.”\u003c/p>\n\u003cp>But he believes it’s still a dynamic and inspirational place to be an artist: “I really believe that, still, the magnet is right here — and not just in Manhattan, but around New York City. And still artists around the world [look] at us with a kind of envy that we are here. They want to be here at least for a few weeks at a time to practice their art.”\u003c/p>\n\u003cp>There are also deeply personal reasons Baryshnikov chose to create something permanent in New York. When he defected from the Soviet Union in 1974, New York became home. He says the Baryshnikov Arts Center is “a kind of civic duty.”\u003c/p>\n\u003cp>Downstairs in the center’s Jerome Robbins Theater, choreographer John Heginbotham is rehearsing a piece with his \u003ca href=\"http://www.danceheginbotham.org/\">new dance company\u003c/a>. (He met Baryshnikov when he was a dancer with the Mark Morris Dance Group.) Heginbotham is stuck on a part. “I don’t know. I don’t know. I don’t know,” he tells his dancers, shaking his head. When Baryshnikov stops by, he can’t resist asking him for help.\u003c/p>\n\u003cfigure id=\"attachment_10984835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dancing.jpg\" alt=\"Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers\" width=\"800\" height=\"798\" class=\"size-full wp-image-10984835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Misha?” he says.\u003c/p>\n\u003cp>“You’re the boss,” Baryshnikov replies.\u003c/p>\n\u003cp>Heginbotham says this creative laboratory is really a gift from Baryshnikov to other artists: “He could’ve just been a great ballet dancer, but he is such a curious and investigative person that he has taken that and put it into creating work and helping other people create work. He betters himself all the time and he encourages us to do that too.”\u003c/p>\n\u003cp>\u003cstrong>Building Something That Will Last\u003c/strong>\u003c/p>\n\u003cp>The nonprofit center generates income by renting space, fundraising and selling tickets to performances in its two theaters. Many big donors who’ve supported Baryshnikov throughout his career have contributed generously to the center’s ambitious goals.\u003c/p>\n\u003cp>Rebecca Thomas, a consultant to arts nonprofits, says there’s a “spotty” history of arts organizations that are closely linked to one person: Martha Graham’s and Alvin Ailey’s companies both struggled to adapt after their deaths. According to Thomas, “When we oftentimes see challenges is when that particular leader moves on for whatever reason, because sometimes the donors and the board members do too.”\u003c/p>\n\u003cfigure id=\"attachment_10984837\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg\" alt=\"Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974.\" width=\"800\" height=\"374\" class=\"size-full wp-image-10984837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov-400x187.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Georgiana Pickett and the rest of the Baryshnikov Arts Center staff think about that all the time. “We are trying to build something here that’s going to last without Misha,” she says. “You know, it is his vision and it is his legacy, and that \u003cem>is\u003c/em> the right word. But he’s not going to live forever. None of us are. And so we’re trying to build something here that’s going to last.”\u003c/p>\n\u003cp>\u003cstrong>‘It’s Nice To Go Back … But I’d Rather Look Forward’\u003c/strong>\u003c/p>\n\u003cp>At 67, Baryshnikov is still plenty active. He just made a \u003ca href=\"https://vimeo.com/118830140\">stylish ad\u003c/a> for the clothing company Rag & Bone, turning and curving his body in a kind of duet with street dancer Lil Buck, and he’s touring a \u003ca href=\"http://www.festivaldispoleto.com/2015/Teatro.asp?id_progetto=245&lang=eng\">solo theater piece\u003c/a> based on the writings of Russian dancer Vaslav Nijinsky.\u003c/p>\n\u003cp>He admits he’s always been restless for new challenges. “[The] unknown, it’s always much more intriguing and appealing. … Like [a] new dish in a restaurant which you never taste or a new music composition, a new film and a new book,” he says. “It’s so much more interesting than [going] back to … square one. … Sometimes it’s nice to go back, you know, but I’d rather look forward.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Maybe Mikhail Baryshnikov was right about not wanting the center he founded 10 years ago to bear his name. As he puts it, what happens \u003cem>inside\u003c/em> the studio — that “fragile” art-making process — is much more important. \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=No+Vanity+Project%3A+At+Art+Center%2C+Baryshnikov+Tells+Artists%2C+%27You%27re+The+Boss%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1405,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 30
},
"modified": 1705046276,
"excerpt": "You'd think the sign in front of dancer Mikhail Baryshnikov's arts center would have his name in lights — but actually, you can barely see it. He says what happens inside is way more important.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "You'd think the sign in front of dancer Mikhail Baryshnikov's arts center would have his name in lights — but actually, you can barely see it. He says what happens inside is way more important.",
"title": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, 'You're the Boss' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, 'You're the Boss'",
"datePublished": "2015-09-29T08:00:08-07:00",
"dateModified": "2024-01-11T23:57:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "no-vanity-project-at-art-center-baryshnikov-tells-artists-youre-the-boss",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=442523821&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Elizabeth Blair",
"nprStoryDate": "Mon, 28 Sep 2015 05:23:00 -0400",
"nprLastModifiedDate": "Mon, 28 Sep 2015 11:34:42 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/09/28/442523821/no-vanity-project-baryshnikov-tells-artists-youre-the-boss?ft=nprml&f=442523821",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2015/09/20150928_me_no_vanity_project_at_art_center_baryshnikov_tells_artists_youre_the_boss.mp3?orgId=1&topicId=1046&d=422&p=3&story=442523821&t=progseg&e=443489097&seg=13&ft=nprml&f=442523821",
"nprAudioM3u": "http://api.npr.org/m3u/1444092393-a359f7.m3u?orgId=1&topicId=1046&d=422&p=3&story=442523821&t=progseg&e=443489097&seg=13&ft=nprml&f=442523821",
"nprStoryId": "442523821",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 28 Sep 2015 12:23:00 -0400",
"path": "/arts/10984748/no-vanity-project-at-art-center-baryshnikov-tells-artists-youre-the-boss",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2015/09/20150928_me_no_vanity_project_at_art_center_baryshnikov_tells_artists_youre_the_boss.mp3?orgId=1&topicId=1046&d=422&p=3&story=442523821&t=progseg&e=443489097&seg=13&ft=nprml&f=442523821",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/442523821/444092393\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>When Mikhail Baryshnikov says, “I’m really afraid to get bored with myself,” he means it.\u003c/p>\n\u003cp>As one of the greatest ballet dancers in history, he’s captivated audiences around the world. He was also the artistic director of American Ballet Theatre, has danced to his own \u003ca href=\"https://www.youtube.com/watch?v=tw3AtnMg1xo\" target=\"_blank\" rel=\"noopener\">heartbeat\u003c/a>, had a run as Carrie Bradshaw’s part-time lover on HBO’s \u003cem>Sex and the City, \u003c/em>and so much more. (His list of credits and awards is long and eclectic.)\u003c/p>\n\u003cp>Today, at 67, Baryshnikov is still creating art of all kinds around the world. And on Monday, a gala in New York celebrated the 10th anniversary of the \u003ca href=\"http://bacnyc.org/\" target=\"_blank\" rel=\"noopener\">Baryshnikov Arts Center\u003c/a>, a space he created to give artists the freedom to explore and take risks.\u003c/p>\n\u003cp>\u003cstrong>Creating An Artist Nirvana\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10984750\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg\" alt=\"Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With such an exceptional, international career, you’d think the sign in front of his arts center would have “Baryshnikov” in lights, but actually you can barely see it. “Misha didn’t want this place to be called the Baryshnikov Arts Center,” says Georgiana Pickett, the center’s executive director. “He wanted it to be more global, and some wise people told him, ‘That’s not a good idea. Let’s put your name on it.’ ”\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>Baryshnikov’s idea was to build a place where artists from different disciplines would come together. He had no interest in it being dance-only.\u003c/p>\n\u003cp>“Another dance company? Really, we are packed,” he says, referring to the numerous dance companies that call New York home. If he was going to create something for artists, at the top of his list was space, light and privacy — elements, he says, that are so important to the creative process. “Art-making is not a factory, with a few exceptions, of course — you know, like Jeff Koons or Andy Warhol. It’s a very slow and very fragile process. It took me 25, 30 years to really understand what actually it takes.”\u003c/p>\n\u003cp>Baryshnikov put up $1 million of his own money to build the center. With help from a small group of donors, he bought a portion of a six-story building in New York’s Hell’s Kitchen neighborhood. Today, after extensive renovations, the center has two state-of-the-art theaters and four studios.\u003c/p>\n\u003cp>For the artists lucky enough to get a residency, it’s nirvana.\u003c/p>\n\u003cp>\u003cstrong>‘In The Middle Of Possibility’\u003c/strong>\u003c/p>\n\u003cp>Vocalist and songwriter \u003ca href=\"http://www.somimusic.com/\" target=\"_blank\" rel=\"noopener\">Somi\u003c/a> is rehearsing in a light-filled studio that overlooks the Hudson River. “This is such a glorious space because you’ve got these high windows and you’re surrounded by the city,” she says. “And being in the middle of New York, right, it’s like you’re in the middle of possibility.”\u003c/p>\n\u003cfigure id=\"attachment_10984833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-800x533.jpg\" alt=\"Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But “possibility” in the middle of New York is wildly expensive, and most artists can’t afford to live in the city. Executive Director Georgiana Pickett says, “It’s one of the reasons we exist … because New York is experiencing a hemorrhaging of its cultural capital. You know, people are leaving. They can’t do it anymore.”\u003c/p>\n\u003cp>Baryshnikov is more sanguine. “It’s no secret that in ’70s and ’80s, New York City [was a] friendlier city for younger people, and more affordable,” he says. “And it’s tougher and tougher.”\u003c/p>\n\u003cp>But he believes it’s still a dynamic and inspirational place to be an artist: “I really believe that, still, the magnet is right here — and not just in Manhattan, but around New York City. And still artists around the world [look] at us with a kind of envy that we are here. They want to be here at least for a few weeks at a time to practice their art.”\u003c/p>\n\u003cp>There are also deeply personal reasons Baryshnikov chose to create something permanent in New York. When he defected from the Soviet Union in 1974, New York became home. He says the Baryshnikov Arts Center is “a kind of civic duty.”\u003c/p>\n\u003cp>Downstairs in the center’s Jerome Robbins Theater, choreographer John Heginbotham is rehearsing a piece with his \u003ca href=\"http://www.danceheginbotham.org/\">new dance company\u003c/a>. (He met Baryshnikov when he was a dancer with the Mark Morris Dance Group.) Heginbotham is stuck on a part. “I don’t know. I don’t know. I don’t know,” he tells his dancers, shaking his head. When Baryshnikov stops by, he can’t resist asking him for help.\u003c/p>\n\u003cfigure id=\"attachment_10984835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dancing.jpg\" alt=\"Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers\" width=\"800\" height=\"798\" class=\"size-full wp-image-10984835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Misha?” he says.\u003c/p>\n\u003cp>“You’re the boss,” Baryshnikov replies.\u003c/p>\n\u003cp>Heginbotham says this creative laboratory is really a gift from Baryshnikov to other artists: “He could’ve just been a great ballet dancer, but he is such a curious and investigative person that he has taken that and put it into creating work and helping other people create work. He betters himself all the time and he encourages us to do that too.”\u003c/p>\n\u003cp>\u003cstrong>Building Something That Will Last\u003c/strong>\u003c/p>\n\u003cp>The nonprofit center generates income by renting space, fundraising and selling tickets to performances in its two theaters. Many big donors who’ve supported Baryshnikov throughout his career have contributed generously to the center’s ambitious goals.\u003c/p>\n\u003cp>Rebecca Thomas, a consultant to arts nonprofits, says there’s a “spotty” history of arts organizations that are closely linked to one person: Martha Graham’s and Alvin Ailey’s companies both struggled to adapt after their deaths. According to Thomas, “When we oftentimes see challenges is when that particular leader moves on for whatever reason, because sometimes the donors and the board members do too.”\u003c/p>\n\u003cfigure id=\"attachment_10984837\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg\" alt=\"Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974.\" width=\"800\" height=\"374\" class=\"size-full wp-image-10984837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov-400x187.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Georgiana Pickett and the rest of the Baryshnikov Arts Center staff think about that all the time. “We are trying to build something here that’s going to last without Misha,” she says. “You know, it is his vision and it is his legacy, and that \u003cem>is\u003c/em> the right word. But he’s not going to live forever. None of us are. And so we’re trying to build something here that’s going to last.”\u003c/p>\n\u003cp>\u003cstrong>‘It’s Nice To Go Back … But I’d Rather Look Forward’\u003c/strong>\u003c/p>\n\u003cp>At 67, Baryshnikov is still plenty active. He just made a \u003ca href=\"https://vimeo.com/118830140\">stylish ad\u003c/a> for the clothing company Rag & Bone, turning and curving his body in a kind of duet with street dancer Lil Buck, and he’s touring a \u003ca href=\"http://www.festivaldispoleto.com/2015/Teatro.asp?id_progetto=245&lang=eng\">solo theater piece\u003c/a> based on the writings of Russian dancer Vaslav Nijinsky.\u003c/p>\n\u003cp>He admits he’s always been restless for new challenges. “[The] unknown, it’s always much more intriguing and appealing. … Like [a] new dish in a restaurant which you never taste or a new music composition, a new film and a new book,” he says. “It’s so much more interesting than [going] back to … square one. … Sometimes it’s nice to go back, you know, but I’d rather look forward.”\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>Maybe Mikhail Baryshnikov was right about not wanting the center he founded 10 years ago to bear his name. As he puts it, what happens \u003cem>inside\u003c/em> the studio — that “fragile” art-making process — is much more important. \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=No+Vanity+Project%3A+At+Art+Center%2C+Baryshnikov+Tells+Artists%2C+%27You%27re+The+Boss%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10984748/no-vanity-project-at-art-center-baryshnikov-tells-artists-youre-the-boss",
"authors": [
"byline_arts_10984748"
],
"categories": [
"arts_966"
],
"tags": [
"arts_1119",
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10984749",
"label": "arts_137"
},
"arts_10984136": {
"type": "posts",
"id": "arts_10984136",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10984136",
"score": null,
"sort": [
1443477633000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1443477633,
"format": "standard",
"title": "Banksy's 'Dismaland' to be Dismantled And Sent To House Migrants In France",
"headTitle": "Banksy’s ‘Dismaland’ to be Dismantled And Sent To House Migrants In France | KQED",
"content": "\u003cp>After five weeks, Banksy’s “bemusement park” art exhibit, Dismaland, is closing permanently. What’s more, the anonymous artist \u003ca href=\"http://dismaland.co.uk/\" target=\"_blank\" rel=\"noopener\">announced on Dismaland’s website\u003c/a> that the structures and material from the park will be sent to a refugee camp in France.\u003c/p>\n\u003cp>The short announcement read, “All the timber and fixtures from Dismaland are being sent to the ‘jungle’ refugee camp near Calais to build shelters. No online tickets will be available.”\u003c/p>\n\u003cp>Some 5,000 displaced people are camped out in and around the French port there, NPR’s Leila Fadel reports from London.\u003c/p>\n\u003cp>Here’s more from Leila:\u003c/p>\n\u003cblockquote>\n\u003cp>“The park was billed as the U.K.’s most disappointing tourist attraction, and it was built purposely gloomy. Banksy, the anonymous English graffiti artist, said it was a family attraction that acknowledges inequality and impending catastrophe. \u003c/p>\n\u003cp>“But tonight it closes its doors. … It sold out every day it was open and some 150,000 people visited in the five-week run.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After an initial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">online-ticketing snafu\u003c/a>, the park in Weston-super-Mare, England, was a huge success, bringing 20 million euros to the seaside town, \u003ca href=\"http://www.bbc.com/news/uk-england-bristol-34364808\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Featuring work from more than 50 artists from around the world, the exhibit’s installations included a dead Cinderella and a grim reaper in a bumper car. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">Banksy called the dark theme park\u003c/a> a “festival of art, amusements and entry-level anarchism.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">As we previously reported for the Two-Way\u003c/a>, the show was characterized by the subversive work for which Banksy is known. Other exhibits showed “a woman on a bench being attacked by seagulls, a killer whale emerging from a toilet to jump though a hoop, and an oil caliphate-themed mini golf course.”\u003c/p>\n\u003cblockquote>\n\u003cp>“In the \u003ca href=\"http://www.juxtapoz.com/current/october-2015-banksy-s-dismaland-exclusive-interview\" target=\"_blank\" rel=\"noopener\">October issue of Juxtapoz\u003c/a>, Banksy writes that the atmosphere of the park is that of a ‘neglected prison yard.’ It’s a ‘deadly serious attempt to assemble a show that takes stock of its generation,’ he writes.\u003c/p>\n\u003cp>“Set in a former pool yard compound, he says, the show is ‘scrappy, incoherent and self-obsessed, so maybe we’re halfway there.’\u003c/p>\n\u003cp>“While the name Dismaland is parodied from Disneyland, Banksy says the show isn’t meant to target Disney. He even banned anything Mickey-related from the website. What the show is supposed to be is an ‘art show for the 99 percent who would rather not be at an art show.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The park also pointed to Europe’s migrant crisis, with an installation showing a boat packed with migrants floating on a pond. Now, with park materials going to the refugee camp, the art will provide more concrete aid.\u003c/p>\n\u003cblockquote>\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=Banksy%27s+%27Dismaland%27+To+Be+Dismantled+And+Sent+To+House+Migrants+In+France&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 485,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705046280,
"excerpt": "Banksy's \"bemusement park\" in England has closed. All of the structures from the park will be sent to a refugee camp in Calais, France, to help build shelters, according to the website.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Banksy's "bemusement park" in England has closed. All of the structures from the park will be sent to a refugee camp in Calais, France, to help build shelters, according to the website.",
"title": "Banksy's 'Dismaland' to be Dismantled And Sent To House Migrants In France | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Banksy's 'Dismaland' to be Dismantled And Sent To House Migrants In France",
"datePublished": "2015-09-28T15:00:33-07:00",
"dateModified": "2024-01-11T23:58:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "banksys-dismaland-to-be-dismantled-and-sent-to-house-migrants-in-france",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=444197601&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laura Wagner",
"nprStoryDate": "Mon, 28 Sep 2015 13:46:00 -0400",
"nprLastModifiedDate": "Mon, 28 Sep 2015 14:03:20 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/09/28/444197601/banksys-dismaland-to-be-dismantled-and-sent-to-house-migrants-in-france?ft=nprml&f=444197601",
"nprStoryId": "444197601",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 28 Sep 2015 13:48:00 -0400",
"path": "/arts/10984136/banksys-dismaland-to-be-dismantled-and-sent-to-house-migrants-in-france",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After five weeks, Banksy’s “bemusement park” art exhibit, Dismaland, is closing permanently. What’s more, the anonymous artist \u003ca href=\"http://dismaland.co.uk/\" target=\"_blank\" rel=\"noopener\">announced on Dismaland’s website\u003c/a> that the structures and material from the park will be sent to a refugee camp in France.\u003c/p>\n\u003cp>The short announcement read, “All the timber and fixtures from Dismaland are being sent to the ‘jungle’ refugee camp near Calais to build shelters. No online tickets will be available.”\u003c/p>\n\u003cp>Some 5,000 displaced people are camped out in and around the French port there, NPR’s Leila Fadel reports from London.\u003c/p>\n\u003cp>Here’s more from Leila:\u003c/p>\n\u003cblockquote>\n\u003cp>“The park was billed as the U.K.’s most disappointing tourist attraction, and it was built purposely gloomy. Banksy, the anonymous English graffiti artist, said it was a family attraction that acknowledges inequality and impending catastrophe. \u003c/p>\n\u003cp>“But tonight it closes its doors. … It sold out every day it was open and some 150,000 people visited in the five-week run.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After an initial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">online-ticketing snafu\u003c/a>, the park in Weston-super-Mare, England, was a huge success, bringing 20 million euros to the seaside town, \u003ca href=\"http://www.bbc.com/news/uk-england-bristol-34364808\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>.\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>Featuring work from more than 50 artists from around the world, the exhibit’s installations included a dead Cinderella and a grim reaper in a bumper car. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">Banksy called the dark theme park\u003c/a> a “festival of art, amusements and entry-level anarchism.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">As we previously reported for the Two-Way\u003c/a>, the show was characterized by the subversive work for which Banksy is known. Other exhibits showed “a woman on a bench being attacked by seagulls, a killer whale emerging from a toilet to jump though a hoop, and an oil caliphate-themed mini golf course.”\u003c/p>\n\u003cblockquote>\n\u003cp>“In the \u003ca href=\"http://www.juxtapoz.com/current/october-2015-banksy-s-dismaland-exclusive-interview\" target=\"_blank\" rel=\"noopener\">October issue of Juxtapoz\u003c/a>, Banksy writes that the atmosphere of the park is that of a ‘neglected prison yard.’ It’s a ‘deadly serious attempt to assemble a show that takes stock of its generation,’ he writes.\u003c/p>\n\u003cp>“Set in a former pool yard compound, he says, the show is ‘scrappy, incoherent and self-obsessed, so maybe we’re halfway there.’\u003c/p>\n\u003cp>“While the name Dismaland is parodied from Disneyland, Banksy says the show isn’t meant to target Disney. He even banned anything Mickey-related from the website. What the show is supposed to be is an ‘art show for the 99 percent who would rather not be at an art show.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The park also pointed to Europe’s migrant crisis, with an installation showing a boat packed with migrants floating on a pond. Now, with park materials going to the refugee camp, the art will provide more concrete aid.\u003c/p>\n\u003cblockquote>\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=Banksy%27s+%27Dismaland%27+To+Be+Dismantled+And+Sent+To+House+Migrants+In+France&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10984136/banksys-dismaland-to-be-dismantled-and-sent-to-house-migrants-in-france",
"authors": [
"byline_arts_10984136"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10984137",
"label": "arts_137"
},
"arts_10981400": {
"type": "posts",
"id": "arts_10981400",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10981400",
"score": null,
"sort": [
1443366055000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1443366055,
"format": "standard",
"title": "Quest for Fun: Looking Back at 'National Lampoon'",
"headTitle": "Quest for Fun: Looking Back at ‘National Lampoon’ | KQED",
"content": "\u003cp>A lot of what — and who — has made us laugh over the past two generations can be traced back, one way or another, to \u003cem>National Lampoon\u003c/em>. John Hughes and Harold Ramis, the filmmakers, humorists like P.J. O’ Rourke, classic movies — \u003cem>Animal House\u003c/em>, \u003cem>Caddyshack\u003c/em> and \u003cem>National Lampoon’s Vacation\u003c/em>, not to mention John Belushi, Gilda Radner, and Christopher Guest.\u003c/p>\n\u003cp>From 1970 to 1998, the magazine that began as a spinoff from the \u003cem>Harvard Lampoon\u003c/em> became one of the first multi-media content providers — a phrase its founders would probably cringe to hear — creating books and magazines, radio, films, albums and stage shows distinguished by deliberate raunchiness and studied outrageousness.\u003c/p>\n\u003cp>Some of its founding talents are still active. But many burned out. Douglas Tirola is the director of \u003cem>Drunk Stoned Brilliant Dead\u003c/em>, a new film about the \u003cem>Lampoon\u003c/em> and its influence. He tells NPR’s Scott Simon that there was an honesty to the \u003cem>Lampoon\u003c/em>‘s shocking aesthetic. “In the ’70s, especially, when there were so many magazines … magazines were looking for attention, when someone’s running to the train or walking down the street, so the covers really had to stick out .. ‘Please buy this magazine,’ because that’s really what it’s all about.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/443492746/443691972\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On some of the \u003cem>Lampoon\u003c/em>‘s signature articles — the few we can mention here\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Volkswagen ad — in the early ’70s, there was apparently a Volkswagen ad that showed a Volkswagen Beetle bug floating in water. And this was an ad that looked very much like it, but the tagline said, “If Teddy Kennedy drove a Volkswagen, he would be President now,” referring to [the fatal bridge accident at] Chappaquiddick … the ad was saying because Volkswagens float, that nobody would’ve died.\u003c/p>\n\u003cp>They would go after anybody, and there was a danger in that, and there was an unpredictability about that. And when you open the Lampoon, on one page they’re killing Nixon, and on the next page they’re going after a sacred cow on the Left like Che Guevara. I think [that] made the whole experience more exciting.\u003c/p>\n\u003cp>\u003cstrong>On the legacy of the \u003cem>National Lampoon Radio Hour\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Pretty much everything in comedy at this point owes something to the \u003cem>Lampoon\u003c/em>, whether they realize it or not. I think they just broke down a lot of barriers in a mainstream way. It’s speaking to a national audience and there’s still a little residue of that today — I think some of it, people may be focused on the \u003cem>Animal House\u003c/em> aspect and just the idea of teenaged boys and college boys and nudity and sex and things like that in a way you hadn’t seen it before \u003cem>Animal House\u003c/em>, but I think there’s just something more, that they represent freedom. They represent a freedom that maybe we don’t even have as much as we wish we did today.\u003c/p>\n\u003cp>\u003cstrong>On whether the \u003cem>Lampoon\u003c/em>‘s multi-platform success was its undoing\u003c/strong>\u003c/p>\n\u003cp>To me, it was one of the last great untold stories about a group of people that unexpectedly came together, and when they did, something special happened. So I think what happened there is, it’s as if somebody had gone into this giant high-school cafeteria and taken the smartest person from each table — the alternative table, the theater table, the jock table, the student council table — and because of that, eventually those personalities started to rub up against each other … ambition and envy and jealousy starts to get in the way … and these were people that had big ambitions, and they were not cageable people, as one of the staff members says in our film.\u003c/p>\n\u003cp>\u003cstrong>On why the \u003cem>Lampoon\u003c/em> still makes us laugh\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has both that lowbrow humor — you know, things that you associate now with their own work in \u003cem>Animal House\u003c/em>, or almost like the Marx Brothers — and then things where you feel like you possibly need a master’s degree to understand. But they didn’t shy away from either. \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=Quest+For+Fun%3A+Looking+Back+At+%27National+Lampoon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 724,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705046285,
"excerpt": "Director Douglas Tirola's new film, \u003cem>Drunk Stoned Brilliant Dead\u003c/em>, chronicles the rise and fall of \u003cem>National Lampoon\u003c/em>. Tirola tells NPR the magazine's power came from its willingness to go after anyone.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Director Douglas Tirola's new film, Drunk Stoned Brilliant Dead, chronicles the rise and fall of National Lampoon. Tirola tells NPR the magazine's power came from its willingness to go after anyone.",
"title": "Quest for Fun: Looking Back at 'National Lampoon' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Quest for Fun: Looking Back at 'National Lampoon'",
"datePublished": "2015-09-27T08:00:55-07:00",
"dateModified": "2024-01-11T23:58:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "quest-for-fun-looking-back-at-national-lampoon",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=443492746&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "NPR Staff",
"nprStoryDate": "Sat, 26 Sep 2015 07:39:16 -0400",
"nprLastModifiedDate": "Sat, 26 Sep 2015 07:39:16 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/09/26/443492746/quest-for-fun-looking-back-at-national-lampoon?ft=nprml&f=443492746",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/09/20150926_wesat_quest_for_fun_looking_back_at_national_lampoon.mp3?orgId=1&topicId=1137&d=474&p=7&story=443492746&t=progseg&e=442860043&seg=22&ft=nprml&f=443492746",
"nprAudioM3u": "http://api.npr.org/m3u/1443691972-3dd204.m3u?orgId=1&topicId=1137&d=474&p=7&story=443492746&t=progseg&e=442860043&seg=22&ft=nprml&f=443492746",
"nprStoryId": "443492746",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 26 Sep 2015 07:43:00 -0400",
"path": "/arts/10981400/quest-for-fun-looking-back-at-national-lampoon",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/wesat/2015/09/20150926_wesat_quest_for_fun_looking_back_at_national_lampoon.mp3?orgId=1&topicId=1137&d=474&p=7&story=443492746&t=progseg&e=442860043&seg=22&ft=nprml&f=443492746",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of what — and who — has made us laugh over the past two generations can be traced back, one way or another, to \u003cem>National Lampoon\u003c/em>. John Hughes and Harold Ramis, the filmmakers, humorists like P.J. O’ Rourke, classic movies — \u003cem>Animal House\u003c/em>, \u003cem>Caddyshack\u003c/em> and \u003cem>National Lampoon’s Vacation\u003c/em>, not to mention John Belushi, Gilda Radner, and Christopher Guest.\u003c/p>\n\u003cp>From 1970 to 1998, the magazine that began as a spinoff from the \u003cem>Harvard Lampoon\u003c/em> became one of the first multi-media content providers — a phrase its founders would probably cringe to hear — creating books and magazines, radio, films, albums and stage shows distinguished by deliberate raunchiness and studied outrageousness.\u003c/p>\n\u003cp>Some of its founding talents are still active. But many burned out. Douglas Tirola is the director of \u003cem>Drunk Stoned Brilliant Dead\u003c/em>, a new film about the \u003cem>Lampoon\u003c/em> and its influence. He tells NPR’s Scott Simon that there was an honesty to the \u003cem>Lampoon\u003c/em>‘s shocking aesthetic. “In the ’70s, especially, when there were so many magazines … magazines were looking for attention, when someone’s running to the train or walking down the street, so the covers really had to stick out .. ‘Please buy this magazine,’ because that’s really what it’s all about.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/443492746/443691972\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On some of the \u003cem>Lampoon\u003c/em>‘s signature articles — the few we can mention here\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>The Volkswagen ad — in the early ’70s, there was apparently a Volkswagen ad that showed a Volkswagen Beetle bug floating in water. And this was an ad that looked very much like it, but the tagline said, “If Teddy Kennedy drove a Volkswagen, he would be President now,” referring to [the fatal bridge accident at] Chappaquiddick … the ad was saying because Volkswagens float, that nobody would’ve died.\u003c/p>\n\u003cp>They would go after anybody, and there was a danger in that, and there was an unpredictability about that. And when you open the Lampoon, on one page they’re killing Nixon, and on the next page they’re going after a sacred cow on the Left like Che Guevara. I think [that] made the whole experience more exciting.\u003c/p>\n\u003cp>\u003cstrong>On the legacy of the \u003cem>National Lampoon Radio Hour\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Pretty much everything in comedy at this point owes something to the \u003cem>Lampoon\u003c/em>, whether they realize it or not. I think they just broke down a lot of barriers in a mainstream way. It’s speaking to a national audience and there’s still a little residue of that today — I think some of it, people may be focused on the \u003cem>Animal House\u003c/em> aspect and just the idea of teenaged boys and college boys and nudity and sex and things like that in a way you hadn’t seen it before \u003cem>Animal House\u003c/em>, but I think there’s just something more, that they represent freedom. They represent a freedom that maybe we don’t even have as much as we wish we did today.\u003c/p>\n\u003cp>\u003cstrong>On whether the \u003cem>Lampoon\u003c/em>‘s multi-platform success was its undoing\u003c/strong>\u003c/p>\n\u003cp>To me, it was one of the last great untold stories about a group of people that unexpectedly came together, and when they did, something special happened. So I think what happened there is, it’s as if somebody had gone into this giant high-school cafeteria and taken the smartest person from each table — the alternative table, the theater table, the jock table, the student council table — and because of that, eventually those personalities started to rub up against each other … ambition and envy and jealousy starts to get in the way … and these were people that had big ambitions, and they were not cageable people, as one of the staff members says in our film.\u003c/p>\n\u003cp>\u003cstrong>On why the \u003cem>Lampoon\u003c/em> still makes us laugh\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has both that lowbrow humor — you know, things that you associate now with their own work in \u003cem>Animal House\u003c/em>, or almost like the Marx Brothers — and then things where you feel like you possibly need a master’s degree to understand. But they didn’t shy away from either. \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=Quest+For+Fun%3A+Looking+Back+At+%27National+Lampoon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10981400/quest-for-fun-looking-back-at-national-lampoon",
"authors": [
"byline_arts_10981400"
],
"categories": [
"arts_968",
"arts_74",
"arts_75"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10981401",
"label": "arts_137"
},
"arts_10978184": {
"type": "posts",
"id": "arts_10978184",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10978184",
"score": null,
"sort": [
1443189649000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1443189649,
"format": "standard",
"title": "A Mom Might Not Be A Mom, And Yes, That's Scary",
"headTitle": "A Mom Might Not Be A Mom, And Yes, That’s Scary | KQED",
"content": "\u003cp>Whether mummy or mommy, a creature whose face is cloaked in bandages is eerie. So it might seem reasonable for twins Lukas and Elias (Lukas and Elias Schwarz) to be distrustful when their mother (Susanne Wuest) returns from the hospital with a wrapped face. As \u003cem>Goodnight Mommy \u003c/em>soon reveals, however, very little about the physically identical brothers is reasonable.\u003c/p>\n\u003cp>The trauma that preceded the events of this austere yet gruesome thriller can be recounted in a single sentence, but writing that sentence would nullify the movie’s effect. With \u003cem>Goodnight Mommy\u003c/em>, summary soon wanders into spoiler territory.\u003c/p>\n\u003cp>Likewise, it would be improper to specify exactly what sort of story this is. The clues are there, and many viewers will solve the puzzle before the film divulges the answer, but the narrative ploy is well camouflaged. Like professional conjurers, writer-directors Veronika Franz and Severin Fiala are masters of diversion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0kXpUaQpXMA\u003c/p>\n\u003cp>A few things can be disclosed without risk. The family lives in an agonizingly sparse modernist home in the Austrian countryside. Mom is a TV personality of some kind. Dad is literally out of the picture — photos of him have been removed from the house. The boys are very close, although one is the doer and the other the thinker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s summertime, so the kids spend a lot of time outside. They explore forests and cornfields, and sometimes one wears a mask in an uncanny echo of mom’s bandages. Also ominous is their descent into a cavern that turns out to be an ossuary, inhabited by one living creature.\u003c/p>\n\u003cp>Adults are rarely seen and, as might be expected, are mostly silly and ineffectual. The only one who tries to exercise any authority over the boys is their mother, but her manner has changed so much that Lukas and Elias doubt she’s the same woman she was before the surgery.\u003c/p>\n\u003cp>They decide to test her, in scenes that could be seen as allegorical of the way all adolescents investigate their growing power to defy their parents. The examinations escalate from disturbing to horrific, although they’re presented with a chilliness quite unlike the gleeful bloodlust of American slasher flicks.\u003c/p>\n\u003cp>“Shot on glorious 35mm,” as the movie’s final title boasts, \u003cem>Goodnight Mommy\u003c/em> is elegant and luminous. While the story conveys the anxiety of being unable to trust the most elemental of human bonds, the meticulous compositions contrast alienation and intimacy. Indeed, the filmmakers’ assured style ultimately upstages their slender if effective script.\u003c/p>\n\u003cp>Veronika Franz is the spouse of director Ulrich Seidl, who produced this movie, and co-wrote his \u003cem>Paradise\u003c/em> trilogy with him; Severin Fiala is Seidl’s nephew. Yet critics have compared \u003cem>Goodnight Mommy \u003c/em>less to Seidl’s work than to the films of Michael Haneke, another Austrian known for dispassionate gore.\u003c/p>\n\u003cp>The resemblance is superficial. The dread in Haneke’s movies is existential, reflecting his often overripe view of the fundamental injustice of all human life. Based on their debut feature, at least, Franz and Fiala don’t think in such grand terms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Goodnight Mommy\u003c/em> is simply a child’s what-if gone amok. “What if our mother isn’t our mother?” a boy asks, and the idle query is pushed to monstrous lengths. Like most such tales, this one is chilling but not profound.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 576,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705046299,
"excerpt": "The new thriller 'Goodnight Mommy' follows a child's simple what-if question to horrific lengths.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The new thriller 'Goodnight Mommy' follows a child's simple what-if question to horrific lengths.",
"title": "A Mom Might Not Be A Mom, And Yes, That's Scary | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Mom Might Not Be A Mom, And Yes, That's Scary",
"datePublished": "2015-09-25T07:00:49-07:00",
"dateModified": "2024-01-11T23:58:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-mom-might-not-be-a-mom-and-yes-thats-scary",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=439162910&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 10 Sep 2015 17:33:00 -0400",
"nprLastModifiedDate": "Fri, 11 Sep 2015 08:40:23 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/09/10/439162910/a-mom-might-not-be-a-mom-and-yes-thats-scary?ft=nprml&f=439162910",
"nprStoryId": "439162910",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 11 Sep 2015 08:30:00 -0400",
"path": "/arts/10978184/a-mom-might-not-be-a-mom-and-yes-thats-scary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether mummy or mommy, a creature whose face is cloaked in bandages is eerie. So it might seem reasonable for twins Lukas and Elias (Lukas and Elias Schwarz) to be distrustful when their mother (Susanne Wuest) returns from the hospital with a wrapped face. As \u003cem>Goodnight Mommy \u003c/em>soon reveals, however, very little about the physically identical brothers is reasonable.\u003c/p>\n\u003cp>The trauma that preceded the events of this austere yet gruesome thriller can be recounted in a single sentence, but writing that sentence would nullify the movie’s effect. With \u003cem>Goodnight Mommy\u003c/em>, summary soon wanders into spoiler territory.\u003c/p>\n\u003cp>Likewise, it would be improper to specify exactly what sort of story this is. The clues are there, and many viewers will solve the puzzle before the film divulges the answer, but the narrative ploy is well camouflaged. Like professional conjurers, writer-directors Veronika Franz and Severin Fiala are masters of diversion.\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/0kXpUaQpXMA'\n title='//www.youtube.com/embed/0kXpUaQpXMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few things can be disclosed without risk. The family lives in an agonizingly sparse modernist home in the Austrian countryside. Mom is a TV personality of some kind. Dad is literally out of the picture — photos of him have been removed from the house. The boys are very close, although one is the doer and the other the thinker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s summertime, so the kids spend a lot of time outside. They explore forests and cornfields, and sometimes one wears a mask in an uncanny echo of mom’s bandages. Also ominous is their descent into a cavern that turns out to be an ossuary, inhabited by one living creature.\u003c/p>\n\u003cp>Adults are rarely seen and, as might be expected, are mostly silly and ineffectual. The only one who tries to exercise any authority over the boys is their mother, but her manner has changed so much that Lukas and Elias doubt she’s the same woman she was before the surgery.\u003c/p>\n\u003cp>They decide to test her, in scenes that could be seen as allegorical of the way all adolescents investigate their growing power to defy their parents. The examinations escalate from disturbing to horrific, although they’re presented with a chilliness quite unlike the gleeful bloodlust of American slasher flicks.\u003c/p>\n\u003cp>“Shot on glorious 35mm,” as the movie’s final title boasts, \u003cem>Goodnight Mommy\u003c/em> is elegant and luminous. While the story conveys the anxiety of being unable to trust the most elemental of human bonds, the meticulous compositions contrast alienation and intimacy. Indeed, the filmmakers’ assured style ultimately upstages their slender if effective script.\u003c/p>\n\u003cp>Veronika Franz is the spouse of director Ulrich Seidl, who produced this movie, and co-wrote his \u003cem>Paradise\u003c/em> trilogy with him; Severin Fiala is Seidl’s nephew. Yet critics have compared \u003cem>Goodnight Mommy \u003c/em>less to Seidl’s work than to the films of Michael Haneke, another Austrian known for dispassionate gore.\u003c/p>\n\u003cp>The resemblance is superficial. The dread in Haneke’s movies is existential, reflecting his often overripe view of the fundamental injustice of all human life. Based on their debut feature, at least, Franz and Fiala don’t think in such grand terms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Goodnight Mommy\u003c/em> is simply a child’s what-if gone amok. “What if our mother isn’t our mother?” a boy asks, and the idle query is pushed to monstrous lengths. Like most such tales, this one is chilling but not profound.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10978184/a-mom-might-not-be-a-mom-and-yes-thats-scary",
"authors": [
"byline_arts_10978184"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10978187",
"label": "arts_137"
},
"news_10692092": {
"type": "posts",
"id": "news_10692092",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10692092",
"score": null,
"sort": [
1442853753000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1442853753,
"format": "standard",
"disqusTitle": "Jack Larson, Jimmy Olsen From Early 'Superman' Show, Dies",
"title": "Jack Larson, Jimmy Olsen From Early 'Superman' Show, Dies",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
"disqusIdentifier": "10692092 http://ww2.kqed.org/news/?p=10692092",
"disqusUrl": "https://ww2.kqed.org/news/2015/09/21/jack-larson-jimmy-olsen-from-early-superman-show-dies/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 537,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1442870414,
"excerpt": "Actor Jack Larson, who played a sidekick to Clark Kent in the early 'Superman' TV series, has died at age 87.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Actor Jack Larson, who played a sidekick to Clark Kent in the early 'Superman' TV series, has died at age 87.",
"title": "Jack Larson, Jimmy Olsen From Early 'Superman' Show, Dies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Jack Larson, Jimmy Olsen From Early 'Superman' Show, Dies",
"datePublished": "2015-09-21T09:42:33-07:00",
"dateModified": "2015-09-21T14:20:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "jack-larson-jimmy-olsen-from-early-superman-show-dies",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=442189376&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "\u003cstrong>\u003ca href=\"http://www.npr.org/people/14562108/bill-chappell\" target=\"_blank\">Bill Chappell\u003c/a>\u003cbr />NPR\u003c/strong>",
"nprStoryDate": "Mon, 21 Sep 2015 10:48:00 -0400",
"nprLastModifiedDate": "Mon, 21 Sep 2015 11:15:37 -0400",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/09/21/442189376/jack-larson-jimmy-olsen-from-superman-tv-shows-dies?ft=nprml&f=442189376",
"nprStoryId": "442189376",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 21 Sep 2015 11:15:00 -0400",
"path": "/news/10692092/jack-larson-jimmy-olsen-from-early-superman-show-dies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\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>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10692092/jack-larson-jimmy-olsen-from-early-superman-show-dies",
"authors": [
"byline_news_10692092"
],
"programs": [
"news_6944",
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"affiliates": [
"news_253"
],
"featImg": "news_10692093",
"label": "news_72"
},
"arts_10960288": {
"type": "posts",
"id": "arts_10960288",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10960288",
"score": null,
"sort": [
1442584837000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1442584837,
"format": "standard",
"title": "'Coming Home' To Heartache And Hope",
"headTitle": "‘Coming Home’ To Heartache And Hope | KQED",
"content": "\u003cp>China’s Cultural Revolution was a period of political turmoil, launched by Mao Zedong in 1966, a dark decade that many in Chinese society would prefer to forget. So it says something that Zhang Yimou’s new drama \u003cem>Coming Home\u003c/em>, which is set during those years, has been a big success in China.\u003c/p>\n\u003cp>The film opens with a cold-war propaganda vignette — a military ballet, young Chinese girls dressed as soldiers pirouetting with prop guns. One of the dancers is the ambitious daughter of Lu Yanshi, a disgraced professor who, she will soon learn, has escaped from a “re-education” camp. Hoping to advance her ballet prospects, she informs on her parents — tells the police that her mother Feng Wanyu plans a secret rendezvous with Yanshi at the train station.\u003c/p>\n\u003cp>It is, however, a very crowded train station, where the only way a hidden Yanshi can find his wife is to come out into the open. Though certain he’ll be caught, he steps from the shadows, waves his arms and shouts his wife’s name.\u003c/p>\n\u003cp>Wanyu, standing high on a platform, sees him, and at that same moment, sees soldiers coming for him. So she screams at him to run — to run away. Instead, he runs toward his wife. And seeing that he’ll be caught, she runs toward him as soldiers close in on them both.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hoea7Cz3Hj0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many films this scene would be the climactic finale. Here, it just sets up the real story — the “coming home” of the title, years later after the Cultural Revolution’s excesses have brought about its end. Yanshi, now declared rehabilitated, returns to his family, which should be a happy moment, but is instead a puzzlement.\u003c/p>\n\u003cp>That day at the train station, his wife suffered a head injury and has been left with an intense desire to see her husband again — and an utter inability to recognize him when she does. What she sees when Yanshi shows up is a man trying to take her beloved husband’s place.\u003c/p>\n\u003cp>“Nobody wants to see you,” she tells him. “Please leave.”\u003c/p>\n\u003cp>Staggered at being in the presence of the love of his life, but seemingly unseen by her, he can only mumble, “What’s happening?”\u003c/p>\n\u003cp>Now there are two ways to understand the rest of \u003cem>Coming Home\u003c/em>, a standoff in which he struggles to reawaken his wife’s memory, as she struggles to remain faithful to the husband she thinks she remembers. One is as a six-hankie weepie of the sort that, say, Nicholas Sparks churns out regularly. The other is as a broader social commentary about a time that required resilience and internal strength in China.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Zhang Yimou, who has said in interviews that the suffering and turmoil of the Cultural Revolution was a formative period for him, appears happy to have it both ways. He’s cast as the wife the actress who has been his muse in eight films: Gong Li. And as her eyes glisten with both pain and hope in a gray world of muted emotions, her amnesia comes to seem a sort of collective denial in \u003cem>Coming Home\u003c/em>: a survival strategy for those who can only soldier on after losses too painful to recall.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 572,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705046341,
"excerpt": "In a new drama from Chinese director Zhang Yimou, a Cultural Revolution detainee returns to a wife who does not recognize him.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In a new drama from Chinese director Zhang Yimou, a Cultural Revolution detainee returns to a wife who does not recognize him.",
"title": "'Coming Home' To Heartache And Hope | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Coming Home' To Heartache And Hope",
"datePublished": "2015-09-18T07:00:37-07:00",
"dateModified": "2024-01-11T23:59:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "coming-home-to-heartache-and-hope",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=438602948&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Mondello",
"nprStoryDate": "Wed, 09 Sep 2015 16:34:00 -0400",
"nprLastModifiedDate": "Wed, 09 Sep 2015 18:44:11 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/09/09/438602948/coming-home-to-heartache-and-hope?ft=nprml&f=438602948",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/09/20150909_atc_coming_home_to_heartache_and_hope.mp3?orgId=1&topicId=4467349&d=217&p=2&story=438602948&t=progseg&e=438832304&seg=8&ft=nprml&f=438602948",
"nprAudioM3u": "http://api.npr.org/m3u/1438943324-02f243.m3u?orgId=1&topicId=4467349&d=217&p=2&story=438602948&t=progseg&e=438832304&seg=8&ft=nprml&f=438602948",
"nprStoryId": "438602948",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Sep 2015 18:44:00 -0400",
"path": "/arts/10960288/coming-home-to-heartache-and-hope",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/09/20150909_atc_coming_home_to_heartache_and_hope.mp3?orgId=1&topicId=4467349&d=217&p=2&story=438602948&t=progseg&e=438832304&seg=8&ft=nprml&f=438602948",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>China’s Cultural Revolution was a period of political turmoil, launched by Mao Zedong in 1966, a dark decade that many in Chinese society would prefer to forget. So it says something that Zhang Yimou’s new drama \u003cem>Coming Home\u003c/em>, which is set during those years, has been a big success in China.\u003c/p>\n\u003cp>The film opens with a cold-war propaganda vignette — a military ballet, young Chinese girls dressed as soldiers pirouetting with prop guns. One of the dancers is the ambitious daughter of Lu Yanshi, a disgraced professor who, she will soon learn, has escaped from a “re-education” camp. Hoping to advance her ballet prospects, she informs on her parents — tells the police that her mother Feng Wanyu plans a secret rendezvous with Yanshi at the train station.\u003c/p>\n\u003cp>It is, however, a very crowded train station, where the only way a hidden Yanshi can find his wife is to come out into the open. Though certain he’ll be caught, he steps from the shadows, waves his arms and shouts his wife’s name.\u003c/p>\n\u003cp>Wanyu, standing high on a platform, sees him, and at that same moment, sees soldiers coming for him. So she screams at him to run — to run away. Instead, he runs toward his wife. And seeing that he’ll be caught, she runs toward him as soldiers close in on them both.\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/Hoea7Cz3Hj0'\n title='//www.youtube.com/embed/Hoea7Cz3Hj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many films this scene would be the climactic finale. Here, it just sets up the real story — the “coming home” of the title, years later after the Cultural Revolution’s excesses have brought about its end. Yanshi, now declared rehabilitated, returns to his family, which should be a happy moment, but is instead a puzzlement.\u003c/p>\n\u003cp>That day at the train station, his wife suffered a head injury and has been left with an intense desire to see her husband again — and an utter inability to recognize him when she does. What she sees when Yanshi shows up is a man trying to take her beloved husband’s place.\u003c/p>\n\u003cp>“Nobody wants to see you,” she tells him. “Please leave.”\u003c/p>\n\u003cp>Staggered at being in the presence of the love of his life, but seemingly unseen by her, he can only mumble, “What’s happening?”\u003c/p>\n\u003cp>Now there are two ways to understand the rest of \u003cem>Coming Home\u003c/em>, a standoff in which he struggles to reawaken his wife’s memory, as she struggles to remain faithful to the husband she thinks she remembers. One is as a six-hankie weepie of the sort that, say, Nicholas Sparks churns out regularly. The other is as a broader social commentary about a time that required resilience and internal strength in China.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Zhang Yimou, who has said in interviews that the suffering and turmoil of the Cultural Revolution was a formative period for him, appears happy to have it both ways. He’s cast as the wife the actress who has been his muse in eight films: Gong Li. And as her eyes glisten with both pain and hope in a gray world of muted emotions, her amnesia comes to seem a sort of collective denial in \u003cem>Coming Home\u003c/em>: a survival strategy for those who can only soldier on after losses too painful to recall.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10960288/coming-home-to-heartache-and-hope",
"authors": [
"byline_arts_10960288"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10960292",
"label": "arts_137"
},
"arts_10947220": {
"type": "posts",
"id": "arts_10947220",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10947220",
"score": null,
"sort": [
1441983646000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1441983646,
"format": "standard",
"title": "New Film Asks: Were Steve Jobs' Flaws Uploaded To His Machines?",
"headTitle": "New Film Asks: Were Steve Jobs’ Flaws Uploaded To His Machines? | KQED",
"content": "\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> hit theaters last week. Academy Award-winning director Alex Gibney’s documentary joins a growing list of biopics and biographies that have come out since \u003ca href=\"http://www.npr.org/2011/10/05/123826622/apple-visionary-steve-jobs-dies-at-56\" target=\"_blank\" rel=\"noopener\">Jobs’ death in 2011\u003c/a>. But, it adds a new perspective on the increasingly well-known facts of his life. Gibney’s thesis seems to be that Jobs’ flawed character was infused into the machines he made, leaving us perhaps a little more flawed if we use them.\u003c/p>\n\u003cp>The 2013 biopic starring Ashton Kutcher, the authorized \u003ca href=\"http://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\" target=\"_blank\" rel=\"noopener\">Walter Isaacson biography\u003c/a> and the more recent \u003cem>Becoming Steve Jobs: The Evolution of a Reckless Upstart into a Visionary Leader\u003c/em> all touch on how the Apple co-founder was often cruel in the pursuit of his vision to spark a personal computer revolution. But, they don’t question the good of what Jobs invented.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lzyq1t-SjcM\u003c/p>\n\u003cp>Gibney, fresh off his last documentary, \u003ca href=\"http://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener\">Going Clear\u003c/a> — a take-down of Scientology — now turns that critical lens on Steve Jobs and his products.\u003c/p>\n\u003cp>\u003ca href=\"http://www.magpictures.com/stevejobsthemaninthemachine/\" target=\"_blank\" rel=\"noopener\">The new documentary\u003c/a> opens on the day Jobs’ death is announced. We see mournful people all over the world placing flowers in front of Apple stores. There are clips from online video tributes. In one, a young man is weeping and he admits “it seems really ridiculous because I’ve never met the man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter Gibney’s voice as narrator: “Why did so many strangers weep for Steve Jobs?” It’s a question Gibney sets out to answer in his more than two-hour film that mixes archive footage, interviews with old colleagues, and even a never-before-seen video deposition of Jobs from March 2008, when he was being investigated for backdating stock options.\u003c/p>\n\u003cp>Many of the people interviewed for this documentary knew Jobs from his earliest days and had rightful gripes against him. Among them, Daniel Kottke, a college friend who traveled with Jobs to India and then went on to be part of the original founding Apple team. Even though Kottke worked intimately with Jobs to get Apple off the ground, Jobs notoriously refused to give him stock options when the company went public.\u003c/p>\n\u003cp>Gibney also interviewed Chrisann Brennan, Jobs’ former girlfriend who gave birth to his daughter Lisa out of wedlock. Jobs denied paternity for years. Gibney shares legal transcriptions in which, among other falsehoods, Jobs claimed he was sterile and couldn’t have a child. Only a court-ordered paternity test forced him to acknowledge his daughter.\u003c/p>\n\u003cp>Yet, Jobs once told his teacher, the Soto Zen priest Kobun Otogawa, that he was enlightened. Kobun says as proof a young Jobs brought him an early Apple computer board.\u003c/p>\n\u003cp>In \u003cem>Be Here Now\u003c/em>, a book that Brennan and Jobs loved, author Ram Dass talks about the problem of becoming enlightened while still being attached to ego. He calls it “the golden chain,” says Brennan. And Brennan believes this is what happened to Jobs. “He blew it,” she says.\u003c/p>\n\u003cp>“Steve Jobs blew it?” Gibney wonders how anyone could say that. The documentary acknowledges Jobs’ extraordinary successes. He was pushed out of Apple but went on to found Pixar. He returned to Apple and brought it back from the brink of bankruptcy and with one great success after another — the Mac, iPod, iPhone and iPad — he turned it into the most valuable company in the world.\u003c/p>\n\u003cp>But Gibney’s film ponders the cost of those products — not only on the people directly surrounding Jobs but on the world writ large. There’s news footage about the suicides at the Foxconn factories in China which helped build Apple products.\u003c/p>\n\u003cp>In an interview, Jobs is seen acknowledging the suicides are unacceptable and yet he’s also strangely dismissive. Jobs has to point out that the percentage of the U.S. population that commits suicide is higher than the percentage of Foxconn employees that do.\u003c/p>\n\u003cp>Apple factories also leave behind dangerous pollutants, and while Jobs was running the company he refused to meet with Chinese environmental activists.\u003c/p>\n\u003cp>Jon Rubinstein, an engineer who helped design the iPod and the Mac, tells Gibney that Jobs really did believe he was doing good for the world. But, Gibney brings in well-known skeptics to question just how much good Jobs has done.\u003c/p>\n\u003cp>Techno-utopian critic and MIT professor Sherry Turkle believes iPhones are isolating us from one another — “more of what I call the alone together phenomenon,” she says.\u003c/p>\n\u003cp>This film lacks interviews with the people who have been closest to Jobs in recent years and might have had a more positive perspective on him. We don’t hear from his wife Laurene or Tim Cook, the current CEO, and Jony Ive, the brilliant industrial designer whom Jobs called his “best friend.”\u003c/p>\n\u003cp>Apple Vice President Eddy Cue sent out a tweet calling the documentary “inaccurate” and “mean spirited.”\u003c/p>\n\u003cp>But many of the same people have also critiqued Walter Isaacson’s biography, which was authorized by Jobs himself. And Gibney makes a well-documented case.\u003c/p>\n\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> has a personal and poetic quality. Visually and structurally it sometimes feels more like an essay. Gibney ends it with questions that sound a little like a Zen koan. “Perhaps I should spend a moment… asking myself what in buying and using this product am I doing? What is the full nature of my transaction with the maker of this magical and intimate machine?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I doubt Gibney was thinking we should all throw our iPhones into the sea. But, his engaging documentary raises some questions we should all be asking ourselves as we move on to the next phase of the computer revolution. Among them: Do these objects shape our character in ways that are a little too much like the person who made them?\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1010,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705046386,
"excerpt": "Alex Gibney's documentary joins a growing list of Steve Jobs biopics and biographies. The director's thesis seems to be that Jobs' flawed character was infused into the machines he made.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Alex Gibney's documentary joins a growing list of Steve Jobs biopics and biographies. The director's thesis seems to be that Jobs' flawed character was infused into the machines he made.",
"title": "New Film Asks: Were Steve Jobs' Flaws Uploaded To His Machines? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Film Asks: Were Steve Jobs' Flaws Uploaded To His Machines?",
"datePublished": "2015-09-11T08:00:46-07:00",
"dateModified": "2024-01-11T23:59:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-film-asks-were-steve-jobs-flaws-uploaded-to-his-machines",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=437273001&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Laura Sydell",
"nprStoryDate": "Fri, 04 Sep 2015 15:28:00 -0400",
"nprLastModifiedDate": "Sat, 05 Sep 2015 00:07:44 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/alltechconsidered/2015/09/04/437273001/new-film-asks-were-steve-jobs-flaws-uploaded-to-his-machines?ft=nprml&f=437273001",
"nprStoryId": "437273001",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 05 Sep 2015 00:07:00 -0400",
"path": "/arts/10947220/new-film-asks-were-steve-jobs-flaws-uploaded-to-his-machines",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> hit theaters last week. Academy Award-winning director Alex Gibney’s documentary joins a growing list of biopics and biographies that have come out since \u003ca href=\"http://www.npr.org/2011/10/05/123826622/apple-visionary-steve-jobs-dies-at-56\" target=\"_blank\" rel=\"noopener\">Jobs’ death in 2011\u003c/a>. But, it adds a new perspective on the increasingly well-known facts of his life. Gibney’s thesis seems to be that Jobs’ flawed character was infused into the machines he made, leaving us perhaps a little more flawed if we use them.\u003c/p>\n\u003cp>The 2013 biopic starring Ashton Kutcher, the authorized \u003ca href=\"http://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\" target=\"_blank\" rel=\"noopener\">Walter Isaacson biography\u003c/a> and the more recent \u003cem>Becoming Steve Jobs: The Evolution of a Reckless Upstart into a Visionary Leader\u003c/em> all touch on how the Apple co-founder was often cruel in the pursuit of his vision to spark a personal computer revolution. But, they don’t question the good of what Jobs invented.\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/lzyq1t-SjcM'\n title='//www.youtube.com/embed/lzyq1t-SjcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gibney, fresh off his last documentary, \u003ca href=\"http://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener\">Going Clear\u003c/a> — a take-down of Scientology — now turns that critical lens on Steve Jobs and his products.\u003c/p>\n\u003cp>\u003ca href=\"http://www.magpictures.com/stevejobsthemaninthemachine/\" target=\"_blank\" rel=\"noopener\">The new documentary\u003c/a> opens on the day Jobs’ death is announced. We see mournful people all over the world placing flowers in front of Apple stores. There are clips from online video tributes. In one, a young man is weeping and he admits “it seems really ridiculous because I’ve never met the man.”\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>Enter Gibney’s voice as narrator: “Why did so many strangers weep for Steve Jobs?” It’s a question Gibney sets out to answer in his more than two-hour film that mixes archive footage, interviews with old colleagues, and even a never-before-seen video deposition of Jobs from March 2008, when he was being investigated for backdating stock options.\u003c/p>\n\u003cp>Many of the people interviewed for this documentary knew Jobs from his earliest days and had rightful gripes against him. Among them, Daniel Kottke, a college friend who traveled with Jobs to India and then went on to be part of the original founding Apple team. Even though Kottke worked intimately with Jobs to get Apple off the ground, Jobs notoriously refused to give him stock options when the company went public.\u003c/p>\n\u003cp>Gibney also interviewed Chrisann Brennan, Jobs’ former girlfriend who gave birth to his daughter Lisa out of wedlock. Jobs denied paternity for years. Gibney shares legal transcriptions in which, among other falsehoods, Jobs claimed he was sterile and couldn’t have a child. Only a court-ordered paternity test forced him to acknowledge his daughter.\u003c/p>\n\u003cp>Yet, Jobs once told his teacher, the Soto Zen priest Kobun Otogawa, that he was enlightened. Kobun says as proof a young Jobs brought him an early Apple computer board.\u003c/p>\n\u003cp>In \u003cem>Be Here Now\u003c/em>, a book that Brennan and Jobs loved, author Ram Dass talks about the problem of becoming enlightened while still being attached to ego. He calls it “the golden chain,” says Brennan. And Brennan believes this is what happened to Jobs. “He blew it,” she says.\u003c/p>\n\u003cp>“Steve Jobs blew it?” Gibney wonders how anyone could say that. The documentary acknowledges Jobs’ extraordinary successes. He was pushed out of Apple but went on to found Pixar. He returned to Apple and brought it back from the brink of bankruptcy and with one great success after another — the Mac, iPod, iPhone and iPad — he turned it into the most valuable company in the world.\u003c/p>\n\u003cp>But Gibney’s film ponders the cost of those products — not only on the people directly surrounding Jobs but on the world writ large. There’s news footage about the suicides at the Foxconn factories in China which helped build Apple products.\u003c/p>\n\u003cp>In an interview, Jobs is seen acknowledging the suicides are unacceptable and yet he’s also strangely dismissive. Jobs has to point out that the percentage of the U.S. population that commits suicide is higher than the percentage of Foxconn employees that do.\u003c/p>\n\u003cp>Apple factories also leave behind dangerous pollutants, and while Jobs was running the company he refused to meet with Chinese environmental activists.\u003c/p>\n\u003cp>Jon Rubinstein, an engineer who helped design the iPod and the Mac, tells Gibney that Jobs really did believe he was doing good for the world. But, Gibney brings in well-known skeptics to question just how much good Jobs has done.\u003c/p>\n\u003cp>Techno-utopian critic and MIT professor Sherry Turkle believes iPhones are isolating us from one another — “more of what I call the alone together phenomenon,” she says.\u003c/p>\n\u003cp>This film lacks interviews with the people who have been closest to Jobs in recent years and might have had a more positive perspective on him. We don’t hear from his wife Laurene or Tim Cook, the current CEO, and Jony Ive, the brilliant industrial designer whom Jobs called his “best friend.”\u003c/p>\n\u003cp>Apple Vice President Eddy Cue sent out a tweet calling the documentary “inaccurate” and “mean spirited.”\u003c/p>\n\u003cp>But many of the same people have also critiqued Walter Isaacson’s biography, which was authorized by Jobs himself. And Gibney makes a well-documented case.\u003c/p>\n\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> has a personal and poetic quality. Visually and structurally it sometimes feels more like an essay. Gibney ends it with questions that sound a little like a Zen koan. “Perhaps I should spend a moment… asking myself what in buying and using this product am I doing? What is the full nature of my transaction with the maker of this magical and intimate machine?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I doubt Gibney was thinking we should all throw our iPhones into the sea. But, his engaging documentary raises some questions we should all be asking ourselves as we move on to the next phase of the computer revolution. Among them: Do these objects shape our character in ways that are a little too much like the person who made them?\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10947220/new-film-asks-were-steve-jobs-flaws-uploaded-to-his-machines",
"authors": [
"byline_arts_10947220"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10947221",
"label": "arts_137"
},
"arts_10934825": {
"type": "posts",
"id": "arts_10934825",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10934825",
"score": null,
"sort": [
1441375249000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1441375249,
"format": "standard",
"title": "A 'Second Mother,' Trapped In Service",
"headTitle": "A ‘Second Mother,’ Trapped In Service | KQED",
"content": "\u003cp>If you want to measure a society’s political health, two films from Latin America slyly suggest, look at how it treats the help. Sebastian Silva’s gleeful 2009 black comedy, \u003cem>The Maid\u003c/em>, drew on his own experience as the cosseted son of a well-to-do Chilean family propped up by its housekeeper. Brazilian filmmaker Anna Muylaert began writing her new film, \u003cem>The Second Mother\u003c/em>, two decades ago, when she hired a nanny to care for her first child. It’s a quieter, more ruminative comedy, but like Silva, Muylaert is as alive to the comic possibilities of liberal guilt as she is to the plight of the ill-paid maids who quietly run innumerable households all around the Americas.\u003c/p>\n\u003cp>The second mother in Muylaert’s film is Val (a very good Regina Casé), a middle-aged housekeeper who keeps everyone on track in the home of an affluent Sao Paulo family. She cooks, cleans and openly dotes on their son, Fabinho (Michel Joelsas), a spoiled wastrel who still runs to Val to get his hair stroked whenever he’s crossed. If Val is the help, her employers are the helpless. Clearing the table is beyond them, and their friends are no better: At a birthday party for her employer, Dona Barbara (Karine Teles), we follow Val as she goes around with a tray of appetizers, receiving not a word of thanks. A willing accomplice to this lopsided arrangement, Val fetches and carries without complaint, pausing only to grab bits of power here and there that serve only to keep her locked in place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SOrbWcObwR4\u003c/p>\n\u003cp>Smugly playing the enlightened employer, Dona Barbara takes a fleeting interest in Val’s life only when it costs her nothing. She talks a good game, but to fully understand the warped political economy of this household, you have to follow the camera as it trails after Val like a faithful dog, lingering on the kitchen door that both connects and cordons off her domain with the family’s, or on the hallway that leads to the guest room, significantly more lavish than Val’s cramped quarters.\u003c/p>\n\u003cp>There, a Disruptive Force has set up operations that will trigger a rising tide of violations of the unwritten code that has made this well-oiled system of servitude work well past its sell-by date. Val’s estranged daughter, Jessica (Camila Mardila), has blown into town to take her entrance exam at a prestigious local university, where — to the family’s barely suppressed disbelief — she plans to study architecture. A cocksure beauty bearing a massive grudge against her mother, Jessica is also the distillation of a new generation of Brazilians unbound by the archaic hierarchies that hold her mother hostage. Aghast at Val’s collusion with her masters, she sets about breaking every rule in the house, while Val, appalled in her turn, strives unbidden to restore the status quo. In the ensuing chaos, the patriarch (Lourenco Mutarelli), a trust-fund baby with more money than sense, floors Jessica with a bizarre proposition that quickens the pace into farce, plunging the entire house into a crisis that will bring down its \u003cem>ancien regime\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There may or may not be metaphor at work here regarding Brazil’s relationship with its autocratic past. Either way, it’s hard to begrudge this warmhearted movie its crowd-pleasing ending, which bestows on every player the gift of a new beginning. One way or another, everyone gets out of jail, but no liberation is more gratifying than that of hard-working Val, who opens her eyes at last and takes her cue from a daughter pugnacious enough to insist on her own destiny.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 636,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705046425,
"excerpt": "Brazilian comedy suggests that to look at a society's political health, you look at the way the help is treated.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Brazilian comedy suggests that to look at a society's political health, you look at the way the help is treated.",
"title": "A 'Second Mother,' Trapped In Service | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A 'Second Mother,' Trapped In Service",
"datePublished": "2015-09-04T07:00:49-07:00",
"dateModified": "2024-01-12T00:00:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-second-mother-trapped-in-service",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=435009243&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Ella Taylor",
"nprStoryDate": "Thu, 27 Aug 2015 17:03:00 -0400",
"nprLastModifiedDate": "Thu, 27 Aug 2015 19:30:21 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/08/27/435009243/a-second-mother-trapped-in-service?ft=nprml&f=435009243",
"nprStoryId": "435009243",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 27 Aug 2015 19:30:00 -0400",
"path": "/arts/10934825/a-second-mother-trapped-in-service",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you want to measure a society’s political health, two films from Latin America slyly suggest, look at how it treats the help. Sebastian Silva’s gleeful 2009 black comedy, \u003cem>The Maid\u003c/em>, drew on his own experience as the cosseted son of a well-to-do Chilean family propped up by its housekeeper. Brazilian filmmaker Anna Muylaert began writing her new film, \u003cem>The Second Mother\u003c/em>, two decades ago, when she hired a nanny to care for her first child. It’s a quieter, more ruminative comedy, but like Silva, Muylaert is as alive to the comic possibilities of liberal guilt as she is to the plight of the ill-paid maids who quietly run innumerable households all around the Americas.\u003c/p>\n\u003cp>The second mother in Muylaert’s film is Val (a very good Regina Casé), a middle-aged housekeeper who keeps everyone on track in the home of an affluent Sao Paulo family. She cooks, cleans and openly dotes on their son, Fabinho (Michel Joelsas), a spoiled wastrel who still runs to Val to get his hair stroked whenever he’s crossed. If Val is the help, her employers are the helpless. Clearing the table is beyond them, and their friends are no better: At a birthday party for her employer, Dona Barbara (Karine Teles), we follow Val as she goes around with a tray of appetizers, receiving not a word of thanks. A willing accomplice to this lopsided arrangement, Val fetches and carries without complaint, pausing only to grab bits of power here and there that serve only to keep her locked in place.\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/SOrbWcObwR4'\n title='//www.youtube.com/embed/SOrbWcObwR4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Smugly playing the enlightened employer, Dona Barbara takes a fleeting interest in Val’s life only when it costs her nothing. She talks a good game, but to fully understand the warped political economy of this household, you have to follow the camera as it trails after Val like a faithful dog, lingering on the kitchen door that both connects and cordons off her domain with the family’s, or on the hallway that leads to the guest room, significantly more lavish than Val’s cramped quarters.\u003c/p>\n\u003cp>There, a Disruptive Force has set up operations that will trigger a rising tide of violations of the unwritten code that has made this well-oiled system of servitude work well past its sell-by date. Val’s estranged daughter, Jessica (Camila Mardila), has blown into town to take her entrance exam at a prestigious local university, where — to the family’s barely suppressed disbelief — she plans to study architecture. A cocksure beauty bearing a massive grudge against her mother, Jessica is also the distillation of a new generation of Brazilians unbound by the archaic hierarchies that hold her mother hostage. Aghast at Val’s collusion with her masters, she sets about breaking every rule in the house, while Val, appalled in her turn, strives unbidden to restore the status quo. In the ensuing chaos, the patriarch (Lourenco Mutarelli), a trust-fund baby with more money than sense, floors Jessica with a bizarre proposition that quickens the pace into farce, plunging the entire house into a crisis that will bring down its \u003cem>ancien regime\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>\u003c/p>\n\u003cp>There may or may not be metaphor at work here regarding Brazil’s relationship with its autocratic past. Either way, it’s hard to begrudge this warmhearted movie its crowd-pleasing ending, which bestows on every player the gift of a new beginning. One way or another, everyone gets out of jail, but no liberation is more gratifying than that of hard-working Val, who opens her eyes at last and takes her cue from a daughter pugnacious enough to insist on her own destiny.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10934825/a-second-mother-trapped-in-service",
"authors": [
"byline_arts_10934825"
],
"categories": [
"arts_74"
],
"tags": [
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10934826",
"label": "arts_137"
},
"arts_10932465": {
"type": "posts",
"id": "arts_10932465",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10932465",
"score": null,
"sort": [
1441235532000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1441235532,
"format": "standard",
"title": "Dean Jones, Herbie's Driver in Disney Movies, Dies at Age 84",
"headTitle": "Dean Jones, Herbie’s Driver in Disney Movies, Dies at Age 84 | KQED",
"content": "\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He later appeared in 1992’s big-dog flick \u003cem>Beethoven\u003c/em> and the 1994 Tom Clancy film \u003cem>Clear and Present Danger\u003c/em>. In more recent years, Jones worked in TV and doing voice-overs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hollywoodreporter.com/news/dean-jones-dead-disney-actor-819867\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> offers this summary of Jones’ early career:\u003c/p>\n\u003cblockquote>\n\u003cp>“Born Dean Carroll Jones on Jan. 25, 1931, in Decatur, Alabama, Jones served in the Navy during the Korean War and attended Asbury University in Kentucky. He started his career as the host of a local Alabama radio show, \u003cem>Dean Jones Sings\u003c/em>, and as a producer of stage shows.\u003c/p>\n\u003cp>“Signed by MGM, Jones made his film debut opposite Paul Newman in the boxing film \u003cem>Somebody Up There Likes Me\u003c/em> (1956), and \u003cem>Jailhouse Rock\u003c/em> (1957) with Elvis Presley soon followed.\u003c/p>\n\u003cp>“Jones bowed on Broadway in \u003cem>There Was A Little Girl\u003c/em> opposite Jane Fonda in 1960 and was in \u003cem>Under The Yum-Yum Tree\u003c/em> in the same year.”\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=Dean+Jones%2C+Herbie%27s+Driver+In+Disney+Movies%2C+Dies+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 338,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705046439,
"excerpt": "Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, also played the role of Bobby in the original Broadway cast of Stephen Sondheim's \u003cem>Company\u003c/em>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Actor Dean Jones, who starred in The Love Bug, That Darn Cat! and other classic Walt Disney movies, also played the role of Bobby in the original Broadway cast of Stephen Sondheim's Company.",
"title": "Dean Jones, Herbie's Driver in Disney Movies, Dies at Age 84 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dean Jones, Herbie's Driver in Disney Movies, Dies at Age 84",
"datePublished": "2015-09-02T16:12:12-07:00",
"dateModified": "2024-01-12T00:00:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dean-jones-herbies-driver-in-disney-movies-dies-at-age-84",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=437006764&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Wed, 02 Sep 2015 18:10:00 -0400",
"nprLastModifiedDate": "Wed, 02 Sep 2015 18:59:48 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/09/02/437006764/dean-jones-herbie-s-driver-in-disney-movies-dies-at-age-84?ft=nprml&f=437006764",
"nprStoryId": "437006764",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 02 Sep 2015 18:59:00 -0400",
"path": "/arts/10932465/dean-jones-herbies-driver-in-disney-movies-dies-at-age-84",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\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 later appeared in 1992’s big-dog flick \u003cem>Beethoven\u003c/em> and the 1994 Tom Clancy film \u003cem>Clear and Present Danger\u003c/em>. In more recent years, Jones worked in TV and doing voice-overs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hollywoodreporter.com/news/dean-jones-dead-disney-actor-819867\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> offers this summary of Jones’ early career:\u003c/p>\n\u003cblockquote>\n\u003cp>“Born Dean Carroll Jones on Jan. 25, 1931, in Decatur, Alabama, Jones served in the Navy during the Korean War and attended Asbury University in Kentucky. He started his career as the host of a local Alabama radio show, \u003cem>Dean Jones Sings\u003c/em>, and as a producer of stage shows.\u003c/p>\n\u003cp>“Signed by MGM, Jones made his film debut opposite Paul Newman in the boxing film \u003cem>Somebody Up There Likes Me\u003c/em> (1956), and \u003cem>Jailhouse Rock\u003c/em> (1957) with Elvis Presley soon followed.\u003c/p>\n\u003cp>“Jones bowed on Broadway in \u003cem>There Was A Little Girl\u003c/em> opposite Jane Fonda in 1960 and was in \u003cem>Under The Yum-Yum Tree\u003c/em> in the same year.”\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=Dean+Jones%2C+Herbie%27s+Driver+In+Disney+Movies%2C+Dies+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10932465/dean-jones-herbies-driver-in-disney-movies-dies-at-age-84",
"authors": [
"byline_arts_10932465"
],
"categories": [
"arts_74",
"arts_75"
],
"tags": [
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10932466",
"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": 2244,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_10995678",
"arts_10991724",
"arts_10990146",
"arts_10984748",
"arts_10984136",
"arts_10981400",
"arts_10978184",
"news_10692092",
"arts_10960288",
"arts_10947220",
"arts_10934825",
"arts_10932465"
],
"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_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"news_6944": {
"type": "terms",
"id": "news_6944",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6944",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/News-Fix-Logo-Web-Banners-04.png",
"name": "News Fix",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The News Fix is a daily news podcast from KQED that breaks down the latest headlines and provides in-depth analysis of the stories that matter to the Bay Area.",
"title": "News Fix - Daily Dose of Bay Area News | KQED",
"ogDescription": null
},
"ttid": 6968,
"slug": "news-fix",
"isLoading": false,
"link": "/news/program/news-fix"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"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 News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_253": {
"type": "terms",
"id": "news_253",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "253",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "KQED is the NPR station for the Bay Area, providing award-winning news, programming, and community engagement.",
"title": "NPR Archives - Get the Latest News and Reports from California | KQED",
"ogDescription": null
},
"ttid": 7083,
"slug": "npr",
"isLoading": false,
"link": "/news/affiliate/npr"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
}
},
"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
}
}
