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_10705326": {
"type": "attachments",
"id": "arts_10705326",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10705326",
"found": true
},
"parent": 10705325,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/pe0150.comp_.036335.1252-e0033b24b4d47240aa9c155c327b441049454f0d-e1432839614113-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432839319,
"modified": 1432839691,
"caption": "Casey (Britt Robertson) experiences a fantastic futuristic world in \u003cem>Tomorrowland\u003c/em>. (Courtesy of Disney)",
"description": null,
"title": null,
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10698907": {
"type": "attachments",
"id": "arts_10698907",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10698907",
"found": true
},
"parent": 10698900,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028.jpg",
"width": 4627,
"height": 3084
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ap951497737835_slide-ff570962a55f8c145ac64bd005c254b0e1c24028-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432680357,
"modified": 1432680357,
"caption": null,
"description": "Photographer Mary Ellen Mark attends the Leica Los Angeles grand opening on June 20, 2013. Mark died Monday. She was 75.",
"title": "Photographer Mary Ellen Mark attends the Leica Los Angeles grand opening on June 20, 2013. Mark died Monday. She was 75.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10681822": {
"type": "attachments",
"id": "arts_10681822",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10681822",
"found": true
},
"parent": 10681817,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/aloftCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432250882,
"modified": 1432250923,
"caption": "Jennifer Connelly as Nana in \u003cem>Aloft\u003c/em>. (Courtesy of Jose Haro/Sony Pictures Classics)",
"description": null,
"title": null,
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10679652": {
"type": "attachments",
"id": "arts_10679652",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10679652",
"found": true
},
"parent": 10679651,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-e1432199250472.jpg",
"width": 800,
"height": 533
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/terry-gross-in-conversation-with-marc-maron_rlf_2_pc_rebecca-greenfield_slide-dbd076f223af64b32c8a6365fa00f04130c3e4f4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432199078,
"modified": 1432230572,
"caption": "Terry Gross and Marc Maron took the stage at WNYC's RadioLoveFest on May 6. (Photo by Rebecca Greenfield/Brooklyn Academy of Music) ",
"description": "Terry Gross and Marc Maron took the stage at WNYC's RadioLoveFest on May 6. During their conversation, Gross says, Maron \"occasionally looked a little nervous or frustrated when he thought I was unforthcoming -- or worse yet, being dull -- but mostly, he looked emotionally present, curious and attenti",
"title": "Terry Gross and Marc Maron took the stage at WNYC's RadioLoveFest on May 6. During their conversation, Gross says, Maron \"occasionally looked a little nervous or frustrated when he thought I was unforthcoming — or worse yet, being dull -- but mostly, he looked emotionally present, curious and attentive.\"",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10674883": {
"type": "attachments",
"id": "arts_10674883",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10674883",
"found": true
},
"parent": 10674882,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365.jpg",
"width": 3627,
"height": 2040
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432078710,
"modified": 1432078710,
"caption": null,
"description": "French cartoonist Luz, seen here in January, says he will leave the satirical magazine \u003cem>Charlie Hebdo\u003c/em> this fall.",
"title": "French cartoonist Luz, seen here in January, says he will leave the satirical magazine Charlie Hebdo this fall.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10657585": {
"type": "attachments",
"id": "arts_10657585",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10657585",
"found": true
},
"parent": 10657581,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/madmaxCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1431647218,
"modified": 1431647256,
"caption": "Tom Hardy in \u003cem>Mad Max: Fury Road\u003c/em>. (Courtesy of Jasin Boland/Warner Bros)",
"description": null,
"title": "frd-ds-00659",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10633592": {
"type": "attachments",
"id": "arts_10633592",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10633592",
"found": true
},
"parent": 10633589,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine.jpg",
"width": 1543,
"height": 868
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Tangerine-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1431045169,
"modified": 1431045191,
"caption": null,
"description": "Lembit Ulfsak in \u003cem>Tangerines\u003c/em>. (Courtesy of Samuel Goldwyn Films)",
"title": "tangerines2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10610376": {
"type": "attachments",
"id": "arts_10610376",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10610376",
"found": true
},
"parent": 10610373,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-e1430460051312.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/far-from_wide-5009b0af2ca40c607a26fb0f1218284121e511871-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430459899,
"modified": 1430460097,
"caption": "Matthias Schoenaerts and Carey Mulligan in \u003cem>Far From The Madding Crowd.\u003c/em>. (Courtesy of Alex Bailey/Twentieth Century Fox Film Corporation)",
"description": null,
"title": "Matthias Schoenaerts and Carey Mulligan in Far From The Madding Crowd.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10610366": {
"type": "attachments",
"id": "arts_10610366",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10610366",
"found": true
},
"parent": 10610365,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-400x177.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 177
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-960x424.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 424
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec.jpg",
"width": 1956,
"height": 864
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-1180x521.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 521
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-800x353.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 353
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-1180x521.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 521
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/trb0280_trl_v005.1012_r2_custom-fe13dc230547859cfcb59697da148ff21792e1ec-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430458203,
"modified": 1430458303,
"caption": "Hulk (Mark Ruffalo), Captain America (Chris Evans), Thor (Chris Hemsworth), Iron Man (Robert Downey Jr.), Black Widow (Scarlett Johansson), and Hawkeye (Jeremy Renner) in \u003ci>The Avengers: Age of Ultron\u003c/i>. (Courtesy of Film Frame/Marvel)",
"description": "Hulk (Mark Ruffalo), Captain America (Chris Evans), Thor (Chris Hemsworth), Iron Man (Robert Downey Jr.), Black Widow (Scarlett Johansson), and Hawkeye (Jeremy Renner).",
"title": null,
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10605892": {
"type": "attachments",
"id": "arts_10605892",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10605892",
"found": true
},
"parent": 10605891,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7.jpg",
"width": 1000,
"height": 562
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/mg_07092_wide-8c9f1799c9bff0a1185c639fce3533eeb70239a7-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430344452,
"modified": 1430344452,
"caption": null,
"description": "Waka Flocka Flame reading resumes at Webster Hall in New York City April 20.",
"title": "Waka Flocka Flame reading resumes at Webster Hall in New York City April 20.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10605594": {
"type": "attachments",
"id": "arts_10605594",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10605594",
"found": true
},
"parent": 10605593,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-960x660.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 660
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601.jpg",
"width": 800,
"height": 450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-1180x811.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 811
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-1180x811.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 811
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/8251295474_a41a6b5f17_o_custom-fbfd976ef7df7f174cc4aa90fe6e42f27c17183d-e1430335621601-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430335476,
"modified": 1430335739,
"caption": "The Last of Us is a video game that breaks the traditional narrative form of storytelling in games. (Courtesy of Naughty Dog)",
"description": "The Last of Us is a video game that breaks the traditional narrative form of storytelling in games. (Courtesy of Naughty Dog)",
"title": "The Last of Us is a video game that breaks the traditional narrative form of storytelling in games.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10599272": {
"type": "attachments",
"id": "arts_10599272",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10599272",
"found": true
},
"parent": 10599271,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031.jpg",
"width": 4949,
"height": 3299
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/ap361807938204-1-_slide-47fc2d917a2898e9aebd65d54a3413a6e0d2c031-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430172401,
"modified": 1430172401,
"caption": null,
"description": "Stephane \"Charb\" Charbonnier, the late editor of \u003cem>Charlie Hebdo\u003c/em>, is seen in September 2012. PEN American Center's decision to give the French satirical magazine its annual Freedom of Expression Courage Award has prompted six writers to withdraw from the annual event.",
"title": "Stephane \"Charb\" Charbonnier, the late editor of Charlie Hebdo, is seen in September 2012. PEN American Center's decision to give the French satirical magazine its annual Freedom of Expression Courage Award has prompted six writers to withdraw from the annual event.",
"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_10705325": {
"type": "authors",
"id": "byline_arts_10705325",
"meta": {
"override": true
},
"slug": "byline_arts_10705325",
"name": "David Edelstein",
"isLoading": false
},
"byline_arts_10698900": {
"type": "authors",
"id": "byline_arts_10698900",
"meta": {
"override": true
},
"slug": "byline_arts_10698900",
"name": "Krishnadev Calamur",
"isLoading": false
},
"byline_arts_10681817": {
"type": "authors",
"id": "byline_arts_10681817",
"meta": {
"override": true
},
"slug": "byline_arts_10681817",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_10679651": {
"type": "authors",
"id": "byline_arts_10679651",
"meta": {
"override": true
},
"slug": "byline_arts_10679651",
"name": "Fresh Air",
"isLoading": false
},
"byline_arts_10674882": {
"type": "authors",
"id": "byline_arts_10674882",
"meta": {
"override": true
},
"slug": "byline_arts_10674882",
"name": "Bill Chappell",
"isLoading": false
},
"byline_arts_10657581": {
"type": "authors",
"id": "byline_arts_10657581",
"meta": {
"override": true
},
"slug": "byline_arts_10657581",
"name": "Chris Klimek",
"isLoading": false
},
"byline_arts_10633589": {
"type": "authors",
"id": "byline_arts_10633589",
"meta": {
"override": true
},
"slug": "byline_arts_10633589",
"name": "Tomas Hachard",
"isLoading": false
},
"byline_arts_10610373": {
"type": "authors",
"id": "byline_arts_10610373",
"meta": {
"override": true
},
"slug": "byline_arts_10610373",
"name": "Ella Taylor",
"isLoading": false
},
"byline_arts_10610365": {
"type": "authors",
"id": "byline_arts_10610365",
"meta": {
"override": true
},
"slug": "byline_arts_10610365",
"name": "Andrew Lapin",
"isLoading": false
},
"byline_arts_10605891": {
"type": "authors",
"id": "byline_arts_10605891",
"meta": {
"override": true
},
"slug": "byline_arts_10605891",
"name": "Charlie Kaplan",
"isLoading": false
},
"byline_arts_10605593": {
"type": "authors",
"id": "byline_arts_10605593",
"meta": {
"override": true
},
"slug": "byline_arts_10605593",
"name": "Adam Frank",
"isLoading": false
},
"byline_arts_10599271": {
"type": "authors",
"id": "byline_arts_10599271",
"meta": {
"override": true
},
"slug": "byline_arts_10599271",
"name": "Krishnadev Calamur",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.258852
},
"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": 193
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 193
}
},
{
"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_10705325": {
"type": "posts",
"id": "arts_10705325",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10705325",
"score": null,
"sort": [
1432911608000
]
},
"guestAuthors": [],
"slug": "the-future-is-bright-in-the-time-and-space-twisting-tomorrowland",
"title": "The Future is Bright in the Time-And-Space Twisting 'Tomorrowland'",
"publishDate": 1432911608,
"format": "standard",
"headTitle": "The Future is Bright in the Time-And-Space Twisting ‘Tomorrowland’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Much of Brad Bird’s Disney sci-fi adventure \u003cem>Tomorrowland\u003c/em> is terrific fun, but it’s one of the strangest family movies I’ve seen: Bird’s not just making a case for hope, he’s making a furious, near-hysterical case against anti-hope.\u003c/p>\n\u003cp>After a perplexing prologue in which George Clooney in a futuristic suit addresses an unseen audience, Bird flashes back to perhaps the 20th century’s most enduring symbol of technological optimism: The 1964 New York World’s Fair. Clooney’s character, Frank Walker, is a preteen science nerd who is demonstrating his semifunctional homemade jetpack to a British scientist called Nix played by Hugh Laurie. Nix belittles Frank, but a young girl named Athena, who appears to be Nix’s daughter, secretly slips the boy a World’s Fair pin that transports him somewhere \u003cem>fabulous\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0sH0__SpV88\u003c/p>\n\u003cp>I can’t describe where that is because the fun in \u003cem>Tomorrowland\u003c/em> comes from being constantly upended. What I can say is that for Bird the ’64 fair is utopia. This was an era when kids made rockets in garages out of vacuum cleaner parts; when a clean, cheerful “city of the future” inspired awe instead of cynicism. For Frank, anything seems possible.\u003c/p>\n\u003cp>Frank is not the movie’s protagonist, but it’s someone cut from the same cloth. Casey Newton is a present-day Florida teen (played by Britt Robertson) whose dad works for NASA overseeing the dismantling of rockets that will never be used. A budding rocket scientist, she’s so outraged by the failure to support the space program, she sends homemade drones to sabotage the equipment — and gets caught. Sprung from jail, she finds in her belongings the same kind of pin that sent Frank on the ride of his life. Every time she touches it, she’s in what I’m tempted to call a field of dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s obvious why both Casey and Frank got that pin: They have imaginations that can’t be dampened. Casey’s dad poses a riddle that becomes the cornerstone of her worldview, which is, in fact, the film’s worldview: You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? Casey knows the answer: “The one you \u003cem>feed\u003c/em>.”\u003c/p>\n\u003cp>After Casey joins forces with the middle-aged Frank, much of \u003cem>Tomorrowland\u003c/em> is time-and-space jumping plus blast-’em-up battles with human-looking robots. But the most vivid thing is the message: a critique of films, books and TV shows in which floods, plagues, robots, or nukes wipe out civilization. It’s not that Bird is disparaging climate change or other dangers. He’s saying our society has become so comfortable with the vision of apocalypse that we’re not dreaming up solutions.\u003c/p>\n\u003cp>Maybe Bird is right and we \u003cem>are\u003c/em> too comfortable — even turned on — by plague/flood/road-warrior/kids-killing-kids movies. But \u003cem>Tomorrowland\u003c/em> has a weird side, too. Bird has acknowledged the influence of Ayn Rand’s militant individualism, and so the enemies he identifies aren’t, say, the people \u003cem>causing\u003c/em> climate change. They’re the doomsaying collective, like the science teacher who drones on about temperature rise and looks dumbly at Casey when she interrupts to ask, “Can we \u003cem>fix\u003c/em> it?” Nihilistic groupthink rules our culture, says Bird, and Casey’s positivity makes her a pariah.\u003c/p>\n\u003cp>Apart from that — a big “apart” — I loved the movie. I had to dry my tears and let the buzz wear off before I could argue with it. The creator of \u003cem>The Incredibles\u003c/em>, \u003cem>Ratatouille\u003c/em> and the last \u003cem>Mission: Impossible\u003c/em> film, \u003cem>Ghost Protocol\u003c/em>, Bird straddles two worlds, his animation grounded by love of classic cinema, his live-action films liberated by an animator’s sense of possibilities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cast is fun, too. Though Clooney mugs as much as acts, his comic timing remains superb and his young female co-stars are marvelous. Britt Robertson’s jumpy Casey pairs beautifully with Raffey Cassidy’s crisp underplaying as the enigmatic Athena. I hope neither actress follows \u003cem>Tomorrowland\u003c/em> with a plague or \u003cem>Mad Max \u003c/em>film — though we all know that in Hollywood, movies with no future are the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Brad Bird's new sci-fi adventure film makes a \"near-hysterical case\" against pessimism.",
"status": "publish",
"parent": 0,
"modified": 1726705360,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 750
},
"headData": {
"title": "The Future is Bright in the Time-And-Space Twisting 'Tomorrowland' | KQED",
"description": "Brad Bird's new sci-fi adventure film makes a "near-hysterical case" against pessimism.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Future is Bright in the Time-And-Space Twisting 'Tomorrowland'",
"datePublished": "2015-05-29T08:00:08-07:00",
"dateModified": "2024-09-18T17:22:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "David Edelstein",
"nprStoryId": "408459870",
"nprApiLink": "http://api.npr.org/query?id=408459870&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/05/22/408459870/the-future-is-bright-in-the-time-and-space-twisting-tomorrowland?ft=nprml&f=408459870",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 22 May 2015 17:34:00 -0400",
"nprStoryDate": "Fri, 22 May 2015 15:36:00 -0400",
"nprLastModifiedDate": "Fri, 22 May 2015 17:34:27 -0400",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/05/20150522_fa_02.mp3?orgId=1&topicId=4467349&d=345&p=13&story=408459870&t=progseg&e=408453740&seg=2&ft=nprml&f=408459870",
"nprAudioM3u": "http://api.npr.org/m3u/1408830374-4f842b.m3u?orgId=1&topicId=4467349&d=345&p=13&story=408459870&t=progseg&e=408453740&seg=2&ft=nprml&f=408459870",
"path": "/arts/10705325/the-future-is-bright-in-the-time-and-space-twisting-tomorrowland",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/05/20150522_fa_02.mp3?orgId=1&topicId=4467349&d=345&p=13&story=408459870&t=progseg&e=408453740&seg=2&ft=nprml&f=408459870",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much of Brad Bird’s Disney sci-fi adventure \u003cem>Tomorrowland\u003c/em> is terrific fun, but it’s one of the strangest family movies I’ve seen: Bird’s not just making a case for hope, he’s making a furious, near-hysterical case against anti-hope.\u003c/p>\n\u003cp>After a perplexing prologue in which George Clooney in a futuristic suit addresses an unseen audience, Bird flashes back to perhaps the 20th century’s most enduring symbol of technological optimism: The 1964 New York World’s Fair. Clooney’s character, Frank Walker, is a preteen science nerd who is demonstrating his semifunctional homemade jetpack to a British scientist called Nix played by Hugh Laurie. Nix belittles Frank, but a young girl named Athena, who appears to be Nix’s daughter, secretly slips the boy a World’s Fair pin that transports him somewhere \u003cem>fabulous\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0sH0__SpV88'\n title='//www.youtube.com/embed/0sH0__SpV88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I can’t describe where that is because the fun in \u003cem>Tomorrowland\u003c/em> comes from being constantly upended. What I can say is that for Bird the ’64 fair is utopia. This was an era when kids made rockets in garages out of vacuum cleaner parts; when a clean, cheerful “city of the future” inspired awe instead of cynicism. For Frank, anything seems possible.\u003c/p>\n\u003cp>Frank is not the movie’s protagonist, but it’s someone cut from the same cloth. Casey Newton is a present-day Florida teen (played by Britt Robertson) whose dad works for NASA overseeing the dismantling of rockets that will never be used. A budding rocket scientist, she’s so outraged by the failure to support the space program, she sends homemade drones to sabotage the equipment — and gets caught. Sprung from jail, she finds in her belongings the same kind of pin that sent Frank on the ride of his life. Every time she touches it, she’s in what I’m tempted to call a field of dreams.\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 obvious why both Casey and Frank got that pin: They have imaginations that can’t be dampened. Casey’s dad poses a riddle that becomes the cornerstone of her worldview, which is, in fact, the film’s worldview: You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? Casey knows the answer: “The one you \u003cem>feed\u003c/em>.”\u003c/p>\n\u003cp>After Casey joins forces with the middle-aged Frank, much of \u003cem>Tomorrowland\u003c/em> is time-and-space jumping plus blast-’em-up battles with human-looking robots. But the most vivid thing is the message: a critique of films, books and TV shows in which floods, plagues, robots, or nukes wipe out civilization. It’s not that Bird is disparaging climate change or other dangers. He’s saying our society has become so comfortable with the vision of apocalypse that we’re not dreaming up solutions.\u003c/p>\n\u003cp>Maybe Bird is right and we \u003cem>are\u003c/em> too comfortable — even turned on — by plague/flood/road-warrior/kids-killing-kids movies. But \u003cem>Tomorrowland\u003c/em> has a weird side, too. Bird has acknowledged the influence of Ayn Rand’s militant individualism, and so the enemies he identifies aren’t, say, the people \u003cem>causing\u003c/em> climate change. They’re the doomsaying collective, like the science teacher who drones on about temperature rise and looks dumbly at Casey when she interrupts to ask, “Can we \u003cem>fix\u003c/em> it?” Nihilistic groupthink rules our culture, says Bird, and Casey’s positivity makes her a pariah.\u003c/p>\n\u003cp>Apart from that — a big “apart” — I loved the movie. I had to dry my tears and let the buzz wear off before I could argue with it. The creator of \u003cem>The Incredibles\u003c/em>, \u003cem>Ratatouille\u003c/em> and the last \u003cem>Mission: Impossible\u003c/em> film, \u003cem>Ghost Protocol\u003c/em>, Bird straddles two worlds, his animation grounded by love of classic cinema, his live-action films liberated by an animator’s sense of possibilities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cast is fun, too. Though Clooney mugs as much as acts, his comic timing remains superb and his young female co-stars are marvelous. Britt Robertson’s jumpy Casey pairs beautifully with Raffey Cassidy’s crisp underplaying as the enigmatic Athena. I hope neither actress follows \u003cem>Tomorrowland\u003c/em> with a plague or \u003cem>Mad Max \u003c/em>film — though we all know that in Hollywood, movies with no future are the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10705325/the-future-is-bright-in-the-time-and-space-twisting-tomorrowland",
"authors": [
"byline_arts_10705325"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10705326",
"label": "arts_137"
},
"arts_10698900": {
"type": "posts",
"id": "arts_10698900",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10698900",
"score": null,
"sort": [
1432680784000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1432680784,
"format": "standard",
"title": "Photographer Mary Ellen Mark Dies At 75",
"headTitle": "Photographer Mary Ellen Mark Dies At 75 | KQED",
"content": "\u003cp>Mary Ellen Mark, the influential photographer known mostly for her humanist work, has died. She was 75.\u003c/p>\n\u003cp>Mark died Monday, a representative said Tuesday. The \u003cem>Philadelphia Inquirer\u003c/em> reported that she died in New York.\u003c/p>\n\u003cp>Mark’s work appeared in \u003cem>Life\u003c/em>, \u003cem>New York Times Magazine\u003c/em>, \u003cem>Rolling Stone\u003c/em> and \u003cem>Vanity Fair\u003c/em>. Her photo essay on runaway children in Seattle became the basis of \u003cem>Streetwise,\u003c/em> an Academy Award-nominated film that was directed by her husband, Martin Bell.\u003c/p>\n\u003cp>In a 1988 interview with the \u003ca href=\"http://www.philly.com/philly/blogs/entertainment/fine_arts/Legendary-Philadelphia-photographer-Mary-Ellen-Mark-dies-75.html\" target=\"_blank\" rel=\"noopener\">Philadelphia Inquirer\u003c/a>, Mark said she got her break while working for a Penn alumni magazine. On assignment, she met Pat Carbine, who then was managing editor of \u003cem>Look. \u003c/em>Carbine\u003cem> \u003c/em>later took Mark’s pitch to photograph London drug clinics.\u003c/p>\n\u003cp>“From the very first moment I took pictures [on the streets of Philadelphia], I loved it,” \u003ca href=\"http://articles.philly.com/1988-06-14/news/26266003_1_magazine-loft-photography\" target=\"_blank\" rel=\"noopener\">she told the\u003c/a> \u003cem>Inquirer\u003c/em>. “The thrill was the idea of just being on a street, turning a corner and looking for something to see. It was just an amazing feeling. … Photography became my obsession. … In a way it’s not so different when I go out to work now. It’s just that now I have years of experience in knowing how to use that little machine in front of me — at least better than I used it then. When it’s good and interesting it’s still that feeling of being on the street and wondering — God, I love this! — what’s going to happen next?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>NPR, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5020651\" target=\"_blank\" rel=\"noopener\">in a 2005 review of her work\u003c/a>, called her “a brilliant and fearless artist,” adding: “Mark’s highly celebrated work is sad, spectacular, desperate, disturbing and so much who we are.”\u003c/p>\n\u003cp>In 2012, Mark spoke to NPR about her book \u003cem>Prom\u003c/em>, a collection of 127 portraits from 13 schools across the country, shot between 2006 and 2009. You can listen to that interview \u003ca href=\"http://www.npr.org/sections/pictureshow/2012/04/06/150057877/not-your-average-prom-portraits\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/150057877/150149088\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>See more of Mark’s work in this \u003ca href=\"http://www.pbs.org/newshour/rundown/mary-ellen-mark/\" target=\"_blank\" rel=\"noopener\">PBS Newshour article\u003c/a> about her career.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Neda Ulaby is reporting on Mark’s legacy on Wednesday’s \u003ca href=\"../programs/morning-edition/\" target=\"_blank\" rel=\"noopener\">Morning Edition\u003c/a>. Please tune in to your local public radio station to listen. \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=Photographer+Mary+Ellen+Mark+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 386,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705047057,
"excerpt": "The influential photographer was known mostly for her humanist work.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The influential photographer was known mostly for her humanist work.",
"title": "Photographer Mary Ellen Mark Dies At 75 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Photographer Mary Ellen Mark Dies At 75",
"datePublished": "2015-05-26T15:53:04-07:00",
"dateModified": "2024-01-12T00:10:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "photographer-mary-ellen-mark-dies-at-75",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=409806219&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Krishnadev Calamur",
"nprStoryDate": "Tue, 26 May 2015 16:10:00 -0400",
"nprLastModifiedDate": "Tue, 26 May 2015 17:53:14 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/05/26/409806219/photographer-mary-ellen-mark-dies-at-75?ft=nprml&f=409806219",
"nprStoryId": "409806219",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 26 May 2015 17:53:00 -0400",
"path": "/arts/10698900/photographer-mary-ellen-mark-dies-at-75",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mary Ellen Mark, the influential photographer known mostly for her humanist work, has died. She was 75.\u003c/p>\n\u003cp>Mark died Monday, a representative said Tuesday. The \u003cem>Philadelphia Inquirer\u003c/em> reported that she died in New York.\u003c/p>\n\u003cp>Mark’s work appeared in \u003cem>Life\u003c/em>, \u003cem>New York Times Magazine\u003c/em>, \u003cem>Rolling Stone\u003c/em> and \u003cem>Vanity Fair\u003c/em>. Her photo essay on runaway children in Seattle became the basis of \u003cem>Streetwise,\u003c/em> an Academy Award-nominated film that was directed by her husband, Martin Bell.\u003c/p>\n\u003cp>In a 1988 interview with the \u003ca href=\"http://www.philly.com/philly/blogs/entertainment/fine_arts/Legendary-Philadelphia-photographer-Mary-Ellen-Mark-dies-75.html\" target=\"_blank\" rel=\"noopener\">Philadelphia Inquirer\u003c/a>, Mark said she got her break while working for a Penn alumni magazine. On assignment, she met Pat Carbine, who then was managing editor of \u003cem>Look. \u003c/em>Carbine\u003cem> \u003c/em>later took Mark’s pitch to photograph London drug clinics.\u003c/p>\n\u003cp>“From the very first moment I took pictures [on the streets of Philadelphia], I loved it,” \u003ca href=\"http://articles.philly.com/1988-06-14/news/26266003_1_magazine-loft-photography\" target=\"_blank\" rel=\"noopener\">she told the\u003c/a> \u003cem>Inquirer\u003c/em>. “The thrill was the idea of just being on a street, turning a corner and looking for something to see. It was just an amazing feeling. … Photography became my obsession. … In a way it’s not so different when I go out to work now. It’s just that now I have years of experience in knowing how to use that little machine in front of me — at least better than I used it then. When it’s good and interesting it’s still that feeling of being on the street and wondering — God, I love this! — what’s going to happen next?”\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>NPR, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5020651\" target=\"_blank\" rel=\"noopener\">in a 2005 review of her work\u003c/a>, called her “a brilliant and fearless artist,” adding: “Mark’s highly celebrated work is sad, spectacular, desperate, disturbing and so much who we are.”\u003c/p>\n\u003cp>In 2012, Mark spoke to NPR about her book \u003cem>Prom\u003c/em>, a collection of 127 portraits from 13 schools across the country, shot between 2006 and 2009. You can listen to that interview \u003ca href=\"http://www.npr.org/sections/pictureshow/2012/04/06/150057877/not-your-average-prom-portraits\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/150057877/150149088\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>See more of Mark’s work in this \u003ca href=\"http://www.pbs.org/newshour/rundown/mary-ellen-mark/\" target=\"_blank\" rel=\"noopener\">PBS Newshour article\u003c/a> about her career.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Neda Ulaby is reporting on Mark’s legacy on Wednesday’s \u003ca href=\"../programs/morning-edition/\" target=\"_blank\" rel=\"noopener\">Morning Edition\u003c/a>. Please tune in to your local public radio station to listen. \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=Photographer+Mary+Ellen+Mark+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10698900/photographer-mary-ellen-mark-dies-at-75",
"authors": [
"byline_arts_10698900"
],
"categories": [
"arts_70"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10698907",
"label": "arts_137"
},
"arts_10681817": {
"type": "posts",
"id": "arts_10681817",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10681817",
"score": null,
"sort": [
1432306846000
]
},
"guestAuthors": [],
"slug": "aloft-a-haunting-family-drama-ripe-with-magical-realism",
"title": "'Aloft': A Haunting Family Drama Ripe With Magical Realism",
"publishDate": 1432306846,
"format": "standard",
"headTitle": "‘Aloft’: A Haunting Family Drama Ripe With Magical Realism | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The first scene of \u003cem>Aloft\u003c/em> is one of the more haunting movie openings in recent years. It’s a bitter cold day in northern Canada; against a barren snowscape, a single mother named Nana (Jennifer Connolly) and her two young sons hitch rides in vans from morose men toward an increasingly remote location. With little dialogue, we discover they are on their way to visit a faith healer named The Architect, who performs rituals for a cult of believers in an igloo-like structure built from twigs. Nana’s younger son is ill; this shack, and the fragile, unspoken promise it houses, is her last hope. But, her older son is a budding falconer and his majestic bird takes flight against The Architect.\u003c/p>\n\u003cp>The sensory power of this scene is still ringing even as the film’s mystique slowly drains. \u003cem>Aloft\u003c/em> cuts between two timeframes: one in which Nana has subsequent run-ins with The Architect as her youngest becomes sicker, and a period 20 years later, when she has assumed her own faith-healing mantle. Her older son, Ivan (Cillian Murphy), is unable to cope with his mother’s abandonment and retreats into his birds. A French journalist (Mélanie Laurent) comes to Ivan’s doorstep looking for Nana, and despite his livid protests he eventually agrees to accompany her on a trek to the remote Arctic Circle outpost where Nana lives as a recluse with her followers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ImbiTVzpJBo\u003c/p>\n\u003cp>It’s a journey of discovery for Ivan: What caused his mother to abandon her child for a spiritual quest? It’s also a journey for the audience, but not in the way the film intends. The film is filled with gabbing and melodrama, even as it maintains the gorgeous visuals. The present-day trek northward fills the stark, airy void with chatter that glazes over Nana’s state of mind. It feels unnecessary.\u003c/p>\n\u003cp>The competing storylines pull \u003cem>Aloft\u003c/em> away from its central questions. The entire flashback structure is building toward one of those twist endings that the characters would already know, but that’s being deliberately withheld from the audience in an attempt at suspense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Connolly and Murphy give strong performances, though neither of them looks completely in sync with the Great White North surroundings. Connolly never quite sells Nana’s transformation from desperate mother to full-blown mystic, though since we barely see her in full-on faith-healer mode, there’s little reason to buy her arc, anyway. With his bony physique and head constantly buried under a hood, Murphy always seems lost in his own world. He does, however, have great chemistry with his falcon.\u003c/p>\n\u003cp>\u003cem>Aloft \u003c/em>was written and directed by Peruvian filmmaker Claudia Llosa. Her previous feature was 2009’s Oscar-nominated \u003cem>The Milk Of Sorrow\u003c/em>, about a young woman who goes to extreme measures to avoid the abuse her mother met at the hands of Peru’s military dictatorship, and it’s an intoxicating mix of magic realism, body horror, and reckoning with a nation’s painful history. Her new film lacks the same unnerving qualities—it feels like a more standard tale of frayed familial bonds that happens to take place in an unusual setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Aloft \u003c/em>maintains Llosa’s biggest strength as a filmmaker: an acute sense of place. The movie was filmed in Manitoba and makes full use of its gorgeous isolation, including a harrowing scene on the frozen ice roads of Lake Winnipeg. The cinematographer, Nicolas Bolduc, keeps his camera low, centered on the characters as their fates spill over into the vast winter surrounding them. With frequent cutaways to flying hawks against this landscape, Llosa evokes the animal-themed wilderness narratives of Jack London. That opening still shines like a beacon in the frozen north, though less brightly once we’ve heard the noise and seen the nothingness which follows.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Claudia Llosa's film features strong performances from Jennifer Connelly and Cillian Murphy and a vivid sense of place.",
"status": "publish",
"parent": 0,
"modified": 1726705365,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 668
},
"headData": {
"title": "'Aloft': A Haunting Family Drama Ripe With Magical Realism | KQED",
"description": "Claudia Llosa's film features strong performances from Jennifer Connelly and Cillian Murphy and a vivid sense of place.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Aloft': A Haunting Family Drama Ripe With Magical Realism",
"datePublished": "2015-05-22T08:00:46-07:00",
"dateModified": "2024-09-18T17:22:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprStoryId": "407744528",
"nprApiLink": "http://api.npr.org/query?id=407744528&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/05/21/407744528/aloft-a-haunting-family-drama-ripe-with-magical-realism?ft=nprml&f=407744528",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 21 May 2015 17:03:00 -0400",
"nprStoryDate": "Thu, 21 May 2015 17:03:21 -0400",
"nprLastModifiedDate": "Thu, 21 May 2015 17:03:21 -0400",
"path": "/arts/10681817/aloft-a-haunting-family-drama-ripe-with-magical-realism",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first scene of \u003cem>Aloft\u003c/em> is one of the more haunting movie openings in recent years. It’s a bitter cold day in northern Canada; against a barren snowscape, a single mother named Nana (Jennifer Connolly) and her two young sons hitch rides in vans from morose men toward an increasingly remote location. With little dialogue, we discover they are on their way to visit a faith healer named The Architect, who performs rituals for a cult of believers in an igloo-like structure built from twigs. Nana’s younger son is ill; this shack, and the fragile, unspoken promise it houses, is her last hope. But, her older son is a budding falconer and his majestic bird takes flight against The Architect.\u003c/p>\n\u003cp>The sensory power of this scene is still ringing even as the film’s mystique slowly drains. \u003cem>Aloft\u003c/em> cuts between two timeframes: one in which Nana has subsequent run-ins with The Architect as her youngest becomes sicker, and a period 20 years later, when she has assumed her own faith-healing mantle. Her older son, Ivan (Cillian Murphy), is unable to cope with his mother’s abandonment and retreats into his birds. A French journalist (Mélanie Laurent) comes to Ivan’s doorstep looking for Nana, and despite his livid protests he eventually agrees to accompany her on a trek to the remote Arctic Circle outpost where Nana lives as a recluse with her followers.\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/ImbiTVzpJBo'\n title='//www.youtube.com/embed/ImbiTVzpJBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a journey of discovery for Ivan: What caused his mother to abandon her child for a spiritual quest? It’s also a journey for the audience, but not in the way the film intends. The film is filled with gabbing and melodrama, even as it maintains the gorgeous visuals. The present-day trek northward fills the stark, airy void with chatter that glazes over Nana’s state of mind. It feels unnecessary.\u003c/p>\n\u003cp>The competing storylines pull \u003cem>Aloft\u003c/em> away from its central questions. The entire flashback structure is building toward one of those twist endings that the characters would already know, but that’s being deliberately withheld from the audience in an attempt at suspense.\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>Connolly and Murphy give strong performances, though neither of them looks completely in sync with the Great White North surroundings. Connolly never quite sells Nana’s transformation from desperate mother to full-blown mystic, though since we barely see her in full-on faith-healer mode, there’s little reason to buy her arc, anyway. With his bony physique and head constantly buried under a hood, Murphy always seems lost in his own world. He does, however, have great chemistry with his falcon.\u003c/p>\n\u003cp>\u003cem>Aloft \u003c/em>was written and directed by Peruvian filmmaker Claudia Llosa. Her previous feature was 2009’s Oscar-nominated \u003cem>The Milk Of Sorrow\u003c/em>, about a young woman who goes to extreme measures to avoid the abuse her mother met at the hands of Peru’s military dictatorship, and it’s an intoxicating mix of magic realism, body horror, and reckoning with a nation’s painful history. Her new film lacks the same unnerving qualities—it feels like a more standard tale of frayed familial bonds that happens to take place in an unusual setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Aloft \u003c/em>maintains Llosa’s biggest strength as a filmmaker: an acute sense of place. The movie was filmed in Manitoba and makes full use of its gorgeous isolation, including a harrowing scene on the frozen ice roads of Lake Winnipeg. The cinematographer, Nicolas Bolduc, keeps his camera low, centered on the characters as their fates spill over into the vast winter surrounding them. With frequent cutaways to flying hawks against this landscape, Llosa evokes the animal-themed wilderness narratives of Jack London. That opening still shines like a beacon in the frozen north, though less brightly once we’ve heard the noise and seen the nothingness which follows.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10681817/aloft-a-haunting-family-drama-ripe-with-magical-realism",
"authors": [
"byline_arts_10681817"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10681822",
"label": "arts_137"
},
"arts_10679651": {
"type": "posts",
"id": "arts_10679651",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10679651",
"score": null,
"sort": [
1432220448000
]
},
"guestAuthors": [],
"slug": "terry-gross-to-marc-maron-life-is-harder-than-radio",
"title": "Terry Gross to Marc Maron: 'Life Is Harder Than Radio'",
"publishDate": 1432220448,
"format": "standard",
"headTitle": "Terry Gross to Marc Maron: ‘Life Is Harder Than Radio’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Earlier this month, almost 2,000 radio fanatics gathered at the Brooklyn Academy of Music (BAM) to listen in as Marc Maron, the neurotic and sometimes gruff comedian and podcast host, interviewed \u003cem>Fresh Air’s\u003c/em> Terry Gross. He is known for being vulnerable and bringing his personal life into his interviews; she tends to keep her personal life separate from her work. The conversation that resulted blurs those two styles and ends up revealing aspects of Gross’ life that even the biggest \u003cem>Fresh Air\u003c/em> fans may find surprising.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/206567895″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Maron is the host of \u003ca href=\"http://www.wtfpod.com/podcast\" target=\"_blank\" rel=\"noopener\">WTF\u003c/a>\u003cem>,\u003c/em> a podcast he started in his garage in 2009. \u003cem>WTF\u003c/em> began as a way for Maron to talk about life and career struggles with other comics, and it has expanded to include musicians, actors and directors — and now the host of \u003cem>Fresh Air.\u003c/em>\u003c/p>\n\u003cp>Gross has \u003ca href=\"http://www.npr.org/2014/05/09/310783376/marc-maron-a-life-fueled-by-panic-and-dread\" target=\"_blank\" rel=\"noopener\">previously interviewed Maron for Fresh Air\u003c/a>, but those interviews were conducted in separate studios; the sit-down at BAM was the first time the two met in person. In her introduction to the interview, Gross says, “When I’d met him backstage before the show, I really wanted to talk with him, but we agreed — let’s save it for the interview.”\u003c/p>\n\u003cp>During the course of their conversation, Maron and Gross discussed her childhood in Brooklyn, her beginnings in radio and her record- and book-strewn apartment. For her part, Gross says that Maron’s “no bulls***” style made her feel comfortable opening up to him. “I couldn’t look you in the eye and not tell you the truth,” she tells him.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On preparing for interviews\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I’m a little nervous, but I’ve prepared. I’ve written things on a piece of paper. I don’t know how you prepare — I could ask you that, maybe I will — but this is how I prepare: I panic for a while, and then I scramble and then I type some things up and then I hand write things that are hard to read so I can challenge myself on that level during the interview.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Being self-defeating is always a good part of preparation.\u003c/p>\n\u003cp>\u003cstrong>Maron\u003c/strong>: Yes!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Self sabotage.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you do that?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I sometimes do that.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> How often?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I try not to do that, I do that more in life than I do in radio. … Life is harder than radio.\u003c/p>\n\u003cp>\u003cstrong>On wanting to b\u003c/strong>\u003cstrong>e a lyricist when she was young\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> When I was in high school I wanted to be a lyricist. … Brooklyn public schools used to have something called \u003cem>SING!\u003c/em> where you’d put on a show, each grade would put on a show at the end of the year and you’d write your own storyline. You’d borrow melodies from Broadway shows and write your own lyrics. So I was one of the lyricists for each year that I was there. And part of the time I was in high school my friends shared this interest in theater and it was great, and I thought, “If I could live that life where there’s theater and there’s song and there’s music and people designing scenery and painting it, that would just be super.” And then I thought, “How do you get there? How the hell do you get there?” But it was kind of thrilling if somebody sang a lyric that I wrote. Like once I was walking down the street and I heard a couple of the basketball players singing a lyric that I wrote and I thought, “That is really — that’s just fabulous.”\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> It’s great! Do you remember the lyrics?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> No.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Really?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah. I’m lying, I wouldn’t tell you.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s what you won’t tell me? That’s where you draw the line? At a lyric that some basketball players were singing? That’s what you don’t want America to know about you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah.\u003c/p>\n\u003cp>\u003cstrong>On her book and record collection\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Here’s what typically happens: [My husband] spends a lot of time in record stores looking for unusual and interesting things.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So he’s a vinyl guy.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Our house is like — it’s kind of like we’re living in a record store and library.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So now we’re talking. There are just stacks of records everywhere. I know the vinyl addiction.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Records and CDs and piles.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So do you walk around the house going, “Are you \u003cem>kidding\u003c/em> me?”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yes!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> “I can’t get into the bathroom!”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It is a little like that. But anyways —\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> No, no, no.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Is your house like that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Is my house? No, no, let’s stay in your house.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My house is like a little apartment.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s how I pictured it. Every time I talk to you on the air I always picture you in some weird bunker surrounded by books.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s kind of like that.\u003c/p>\n\u003cp>\u003cstrong>On hitchhiking across the country with her then-boyfriend when she was in college\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My parents, when I decided to hitchhike cross-country, they were very, very upset about it.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I’m upset now.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Well, now that I’m the age that I am, I think, like “My gosh, no wonder they were so upset!” But my attitude then was, you know, “You’re not telling me what to do! You don’t control me.” …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Was this a big deal for you, was it against character?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was totally against character. And the fact is that I think my boyfriend wanted to do it probably more than I did, because I’m really not the adventurous type. I think I’m intellectually adventurous — I’m adventurous in my musical taste, in my artistic taste. I’m not a physically adventurous person. I’m not a risk-taker when it comes to the outside world. …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you know that about yourself now, but this must’ve been a fairly powerful bit of business for you personally?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was, and it was weird. I hitchhiked rides. Like there was somebody who was probably just out of prison and somebody else who probably had tuberculosis, judging from how he was coughing, and in the back of a truck with probably — they were probably migrant workers and there were axes all over. I don’t think they planned on using them against us, but it is a kind of creepy feeling to be in the back of a pickup truck where there’s axes. And if my ex-boyfriend/husband is listening to this, I hope his memories jibe with mine because I can’t swear to the accuracy of my memory, but it was just totally creepy.\u003c/p>\n\u003cp>\u003cstrong>On having more intimate conversations on mic than off\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Can I get a chance to ask you a question?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> In a minute! In a minute! I know how \u003cem>that \u003c/em>goes. I’m trying to hold the line, Terry. These are professional boundaries. \u003cem>I’m \u003c/em>the questioner. But how are you with joy? I’m asking this because — this is all I know: I became an interviewer for reasons that had nothing to do with interviewing. … I don’t know if you feel this way, you say you work all the time, but you talk to people professionally and you elicit things from them and you draw people out … but do you get something out of that emotionally? Because I find in my life that I’m capable of almost a deeper intimacy with —\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> That was the question I was going to ask you!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Well, I’m asking you first!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> OK. Yes.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Looks like I beat you to it. I’m learning. I just feel like I had one of these weird kind of “Yes, I’m glad that I’m on the right track if I came up with a question that you already had in your mind.” \u003cem>Do\u003c/em> you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s a weird thing. I’ll give you an example. I often ask people who have a history of illness or who are near death — because I’ve interviewed people who are near death — I’ve asked them very intimate things about facing death and about their attitudes toward death. I ask people a lot about how they want to buried, or if they want to be buried or if they’d prefer to be cremated. I had a friend a couple of years ago who was also a neighbor who died and I spent a lot of time with her at the end of her life, shopping for food for her, making some food for her. And I knew she didn’t want to talk about facing death and she was really not ready to do it. To the end, she didn’t want to talk about it. So here I am, talking to people who I’m not in the room with. … I don’t know them, they don’t know me, and I’m asking them about death. And here’s my friend who is dying and I’m not talking with her about death. But there’s a reason for that and I felt it would’ve been intrusive in a way that it’s not with my interviewees because she was not ready to talk about it.\u003c/p>\n\u003cp>\u003cstrong>On meeting in real life\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I guess it’s sort of shocking to me because my experience with you is only with voice. This is the first time I’ve seen you moving. I think for a while there, pre-Internet, there was no pictures of you available anywhere. Like I didn’t really know what you looked like, but just your voice made me want to be a better person.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Have I accomplished that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Yeah, I think so. I get nervous. Like, talking to you now is good. Like, I don’t know why you interview, but for me it’s to get very deep emotional needs met. So, like, I seem to be getting along with you, we’re connecting, that makes me happy. It doesn’t feel difficult to me. I know you’re wondering how this is going, I’m telling you from my point of view that I’m having a nice time.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> So am I.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> But when I’m in the studio talking to you I’m standing up straight and I want to impress you. Like one time I made you snort-laugh and I was like, “I win!” I heard you laugh and snort and I’m like, “I’m done with radio. I can wear that as a badge of honor.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>We tried our best to translate this conversation into print, but some things are just better in audio. For the full effect, click the audio link above.\u003c/strong>\u003c/em> \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=Terry+Gross+To+Marc+Maron%3A+%27Life+Is+Harder+Than+Radio%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The \u003cem>WTF\u003c/em> host asks the \u003cem>Fresh Air\u003c/em> host about her childhood, her start in radio and her record-strewn apartment. Gross says Maron's \"no bulls***\" style made her feel comfortable opening up.",
"status": "publish",
"parent": 0,
"modified": 1726771422,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 63,
"wordCount": 2018
},
"headData": {
"title": "Terry Gross to Marc Maron: 'Life Is Harder Than Radio' | KQED",
"description": "The WTF host asks the Fresh Air host about her childhood, her start in radio and her record-strewn apartment. Gross says Maron's "no bulls***" style made her feel comfortable opening up.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Terry Gross to Marc Maron: 'Life Is Harder Than Radio'",
"datePublished": "2015-05-21T08:00:48-07:00",
"dateModified": "2024-09-19T11:43:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Fresh Air",
"nprStoryId": "407981536",
"nprApiLink": "http://api.npr.org/query?id=407981536&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/05/20/407981536/terry-gross-to-marc-maron-life-is-harder-than-radio?ft=nprml&f=407981536",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 20 May 2015 14:36:00 -0400",
"nprStoryDate": "Wed, 20 May 2015 13:51:00 -0400",
"nprLastModifiedDate": "Wed, 20 May 2015 14:36:21 -0400",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/05/20150520_fa_01.mp3?orgId=1&topicId=1020&d=2728&p=13&story=407981536&t=progseg&e=408234018&seg=1&ft=nprml&f=407981536",
"nprAudioM3u": "http://api.npr.org/m3u/1408241030-37fe07.m3u?orgId=1&topicId=1020&d=2728&p=13&story=407981536&t=progseg&e=408234018&seg=1&ft=nprml&f=407981536",
"path": "/arts/10679651/terry-gross-to-marc-maron-life-is-harder-than-radio",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/fa/2015/05/20150520_fa_01.mp3?orgId=1&topicId=1020&d=2728&p=13&story=407981536&t=progseg&e=408234018&seg=1&ft=nprml&f=407981536",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, almost 2,000 radio fanatics gathered at the Brooklyn Academy of Music (BAM) to listen in as Marc Maron, the neurotic and sometimes gruff comedian and podcast host, interviewed \u003cem>Fresh Air’s\u003c/em> Terry Gross. He is known for being vulnerable and bringing his personal life into his interviews; she tends to keep her personal life separate from her work. The conversation that resulted blurs those two styles and ends up revealing aspects of Gross’ life that even the biggest \u003cem>Fresh Air\u003c/em> fans may find surprising.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/206567895″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/206567895″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maron is the host of \u003ca href=\"http://www.wtfpod.com/podcast\" target=\"_blank\" rel=\"noopener\">WTF\u003c/a>\u003cem>,\u003c/em> a podcast he started in his garage in 2009. \u003cem>WTF\u003c/em> began as a way for Maron to talk about life and career struggles with other comics, and it has expanded to include musicians, actors and directors — and now the host of \u003cem>Fresh Air.\u003c/em>\u003c/p>\n\u003cp>Gross has \u003ca href=\"http://www.npr.org/2014/05/09/310783376/marc-maron-a-life-fueled-by-panic-and-dread\" target=\"_blank\" rel=\"noopener\">previously interviewed Maron for Fresh Air\u003c/a>, but those interviews were conducted in separate studios; the sit-down at BAM was the first time the two met in person. In her introduction to the interview, Gross says, “When I’d met him backstage before the show, I really wanted to talk with him, but we agreed — let’s save it for the interview.”\u003c/p>\n\u003cp>During the course of their conversation, Maron and Gross discussed her childhood in Brooklyn, her beginnings in radio and her record- and book-strewn apartment. For her part, Gross says that Maron’s “no bulls***” style made her feel comfortable opening up to him. “I couldn’t look you in the eye and not tell you the truth,” she tells him.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On preparing for interviews\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>\u003cstrong>Maron:\u003c/strong> I’m a little nervous, but I’ve prepared. I’ve written things on a piece of paper. I don’t know how you prepare — I could ask you that, maybe I will — but this is how I prepare: I panic for a while, and then I scramble and then I type some things up and then I hand write things that are hard to read so I can challenge myself on that level during the interview.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Being self-defeating is always a good part of preparation.\u003c/p>\n\u003cp>\u003cstrong>Maron\u003c/strong>: Yes!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Self sabotage.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you do that?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I sometimes do that.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> How often?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I try not to do that, I do that more in life than I do in radio. … Life is harder than radio.\u003c/p>\n\u003cp>\u003cstrong>On wanting to b\u003c/strong>\u003cstrong>e a lyricist when she was young\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> When I was in high school I wanted to be a lyricist. … Brooklyn public schools used to have something called \u003cem>SING!\u003c/em> where you’d put on a show, each grade would put on a show at the end of the year and you’d write your own storyline. You’d borrow melodies from Broadway shows and write your own lyrics. So I was one of the lyricists for each year that I was there. And part of the time I was in high school my friends shared this interest in theater and it was great, and I thought, “If I could live that life where there’s theater and there’s song and there’s music and people designing scenery and painting it, that would just be super.” And then I thought, “How do you get there? How the hell do you get there?” But it was kind of thrilling if somebody sang a lyric that I wrote. Like once I was walking down the street and I heard a couple of the basketball players singing a lyric that I wrote and I thought, “That is really — that’s just fabulous.”\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> It’s great! Do you remember the lyrics?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> No.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Really?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah. I’m lying, I wouldn’t tell you.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s what you won’t tell me? That’s where you draw the line? At a lyric that some basketball players were singing? That’s what you don’t want America to know about you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah.\u003c/p>\n\u003cp>\u003cstrong>On her book and record collection\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Here’s what typically happens: [My husband] spends a lot of time in record stores looking for unusual and interesting things.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So he’s a vinyl guy.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Our house is like — it’s kind of like we’re living in a record store and library.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So now we’re talking. There are just stacks of records everywhere. I know the vinyl addiction.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Records and CDs and piles.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So do you walk around the house going, “Are you \u003cem>kidding\u003c/em> me?”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yes!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> “I can’t get into the bathroom!”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It is a little like that. But anyways —\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> No, no, no.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Is your house like that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Is my house? No, no, let’s stay in your house.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My house is like a little apartment.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s how I pictured it. Every time I talk to you on the air I always picture you in some weird bunker surrounded by books.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s kind of like that.\u003c/p>\n\u003cp>\u003cstrong>On hitchhiking across the country with her then-boyfriend when she was in college\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My parents, when I decided to hitchhike cross-country, they were very, very upset about it.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I’m upset now.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Well, now that I’m the age that I am, I think, like “My gosh, no wonder they were so upset!” But my attitude then was, you know, “You’re not telling me what to do! You don’t control me.” …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Was this a big deal for you, was it against character?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was totally against character. And the fact is that I think my boyfriend wanted to do it probably more than I did, because I’m really not the adventurous type. I think I’m intellectually adventurous — I’m adventurous in my musical taste, in my artistic taste. I’m not a physically adventurous person. I’m not a risk-taker when it comes to the outside world. …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you know that about yourself now, but this must’ve been a fairly powerful bit of business for you personally?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was, and it was weird. I hitchhiked rides. Like there was somebody who was probably just out of prison and somebody else who probably had tuberculosis, judging from how he was coughing, and in the back of a truck with probably — they were probably migrant workers and there were axes all over. I don’t think they planned on using them against us, but it is a kind of creepy feeling to be in the back of a pickup truck where there’s axes. And if my ex-boyfriend/husband is listening to this, I hope his memories jibe with mine because I can’t swear to the accuracy of my memory, but it was just totally creepy.\u003c/p>\n\u003cp>\u003cstrong>On having more intimate conversations on mic than off\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Can I get a chance to ask you a question?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> In a minute! In a minute! I know how \u003cem>that \u003c/em>goes. I’m trying to hold the line, Terry. These are professional boundaries. \u003cem>I’m \u003c/em>the questioner. But how are you with joy? I’m asking this because — this is all I know: I became an interviewer for reasons that had nothing to do with interviewing. … I don’t know if you feel this way, you say you work all the time, but you talk to people professionally and you elicit things from them and you draw people out … but do you get something out of that emotionally? Because I find in my life that I’m capable of almost a deeper intimacy with —\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> That was the question I was going to ask you!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Well, I’m asking you first!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> OK. Yes.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Looks like I beat you to it. I’m learning. I just feel like I had one of these weird kind of “Yes, I’m glad that I’m on the right track if I came up with a question that you already had in your mind.” \u003cem>Do\u003c/em> you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s a weird thing. I’ll give you an example. I often ask people who have a history of illness or who are near death — because I’ve interviewed people who are near death — I’ve asked them very intimate things about facing death and about their attitudes toward death. I ask people a lot about how they want to buried, or if they want to be buried or if they’d prefer to be cremated. I had a friend a couple of years ago who was also a neighbor who died and I spent a lot of time with her at the end of her life, shopping for food for her, making some food for her. And I knew she didn’t want to talk about facing death and she was really not ready to do it. To the end, she didn’t want to talk about it. So here I am, talking to people who I’m not in the room with. … I don’t know them, they don’t know me, and I’m asking them about death. And here’s my friend who is dying and I’m not talking with her about death. But there’s a reason for that and I felt it would’ve been intrusive in a way that it’s not with my interviewees because she was not ready to talk about it.\u003c/p>\n\u003cp>\u003cstrong>On meeting in real life\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I guess it’s sort of shocking to me because my experience with you is only with voice. This is the first time I’ve seen you moving. I think for a while there, pre-Internet, there was no pictures of you available anywhere. Like I didn’t really know what you looked like, but just your voice made me want to be a better person.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Have I accomplished that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Yeah, I think so. I get nervous. Like, talking to you now is good. Like, I don’t know why you interview, but for me it’s to get very deep emotional needs met. So, like, I seem to be getting along with you, we’re connecting, that makes me happy. It doesn’t feel difficult to me. I know you’re wondering how this is going, I’m telling you from my point of view that I’m having a nice time.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> So am I.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> But when I’m in the studio talking to you I’m standing up straight and I want to impress you. Like one time I made you snort-laugh and I was like, “I win!” I heard you laugh and snort and I’m like, “I’m done with radio. I can wear that as a badge of honor.”\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>\u003cstrong>We tried our best to translate this conversation into print, but some things are just better in audio. For the full effect, click the audio link above.\u003c/strong>\u003c/em> \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=Terry+Gross+To+Marc+Maron%3A+%27Life+Is+Harder+Than+Radio%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10679651/terry-gross-to-marc-maron-life-is-harder-than-radio",
"authors": [
"byline_arts_10679651"
],
"categories": [
"arts_1"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10679652",
"label": "arts_137"
},
"arts_10674882": {
"type": "posts",
"id": "arts_10674882",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10674882",
"score": null,
"sort": [
1432078840000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1432078840,
"format": "standard",
"title": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting",
"headTitle": "Longtime ‘Charlie Hebdo’ Cartoonist Announces He’s Quitting | KQED",
"content": "\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \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=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 296,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705047093,
"excerpt": "\"I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,\" says Renald Luzier, the cartoonist known as Luz.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""I will no longer be Charlie Hebdo, but I will always be Charlie," says Renald Luzier, the cartoonist known as Luz.",
"title": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting",
"datePublished": "2015-05-19T16:40:40-07:00",
"dateModified": "2024-01-12T00:11:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "longtime-charlie-hebdo-cartoonist-announces-hes-quitting",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=407933746&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Tue, 19 May 2015 09:33:00 -0400",
"nprLastModifiedDate": "Tue, 19 May 2015 10:49:16 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/05/19/407933746/longtime-charlie-hebdo-cartoonist-announces-he-s-quitting?ft=nprml&f=407933746",
"nprStoryId": "407933746",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 19 May 2015 10:49:00 -0400",
"path": "/arts/10674882/longtime-charlie-hebdo-cartoonist-announces-hes-quitting",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\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>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \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=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10674882/longtime-charlie-hebdo-cartoonist-announces-hes-quitting",
"authors": [
"byline_arts_10674882"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10674883",
"label": "arts_137"
},
"arts_10657581": {
"type": "posts",
"id": "arts_10657581",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10657581",
"score": null,
"sort": [
1431702017000
]
},
"guestAuthors": [],
"slug": "a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road",
"title": "A Visceral, Inventive Blockbuster Roars To Life In 'Mad Max: Fury Road'",
"publishDate": 1431702017,
"format": "standard",
"headTitle": "A Visceral, Inventive Blockbuster Roars To Life In ‘Mad Max: Fury Road’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>What’s the half-life of a post-apocalyptic action film franchise? Potential ticket-buyers born the day the most recent \u003cem>Mad Max \u003c/em>movie was released – summer 1985, one weekend after \u003cem>Back to the Future \u003c/em>– could be on their second marriages by now. The original \u003cem>Mad Max,\u003c/em> from 1979, cost less than $1 million in 2015 money. Though an international hit, today it plays more like a scrappy curiosity than a great action picture, notable for introducing the world to 23-year-old Mel Gibson, whose personal dystopian hellscape was still decades off. Its sequel, released in these United States as \u003cem>The Road Warrior,\u003c/em> is the original trio’s only essential entry.\u003c/p>\n\u003cp>But even that lo-fi, high-impact classic now looks like a mere sketch for the long-under-construction \u003cem>Mad Max: Fury Road, \u003c/em>a kinetic, hallucinatory, boldly feminist chase flick that, with its vibrant color palette, harrowing stunt work and show-don’t-tell style of yarn-spinning, leaves every Marvel movie and every \u003cem>Fast & Furious\u003c/em> in its irradiated dust. It’s the most visceral blockbuster since \u003cem>Gravity, \u003c/em>and it reinvigorates the doomsday genre like no film since \u003cem>The Matrix. \u003c/em>Miller, plucked-from-retirement cinematographer John Seale, and editors Jason Ballantine and Margaret Sixel render its overwhelmingly analog derring-do in a balletic and fluid legato, rather than the thudding staccato of a younger, more loudmouthed car-chase franchise that lives its life a quarter mile at a time (and never, ever shuts up about it). If \u003cem>Fury Road\u003c/em> has a moral, it’s the same one screenwriting professors have been reiterating since chase movies starred Steve McQueen: \u003cem>Action is character. \u003c/em>Words? They’re just talk.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hEJnMQG9ev8\u003c/p>\n\u003cp>Tom Hardy, replacing Gibson as Max with as little explanation as when James Bond swaps faces, is nearly as tight-lipped in the role as Gibson was. (Miller cowrote the script with Nick Lathouris and veteran British comics artist Brendan McCarthy, who also contributed to eye-popping design work.) When he does speak, he sounds as if he’s just snuck up on Vin Diesel during one of his slurry monologues and swallowed him whole. Mercifully brief narration – from Max himself this time, a change the earlier movies – sets the table: He was a cop, in the last days of civilization. After motorbike-riding droogs ran down his wife and child, he wandered into the desert. Now he’s driven only to survive, so he says, but here he is again, defending the vulnerable against the cruel for a third time.\u003c/p>\n\u003cp>Make that \u003cem>co-\u003c/em>defending. Charlize Theron shares a movie-opening title card with Hardy and pulls a Linda Hamilton-in-\u003cem>Terminator 2,\u003c/em> elbowing the title character out of the way to become the film’s true protagonist. She plays Imperator Furiosa, a one-armed “war rig” jockey who paints her face with engine grease before going into battle on behalf of the water-hoarding warlord Immortan Joe. The McGuffins in his installment are, like Soylent Green, people: Specifically, Joe’s five jealously guarded slave “wives,” one of whom is carrying his child. Save for Joe’s son, they’re the only humans in the movie not visibly afflicted by cancer or gout or pallor or a missing limb. Except for Max, of course – and he’s crazier than Don Quixote. (He sees dead people now, and it’s starting to degrade his combat effectiveness.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, Furiosa goes rogue to help these women escape. Wonder of wonders, we’re not subjected to a cinemas-interruptus monologue where she tells us \u003cem>why\u003c/em>. We get why. Theron’s eyes show us why. Max eventually becomes her ally through happenstance, not heroism: He was a Immortan Joe’s captive, too, kept alive for use as a “blood bag” for Joe’s chalk-skinned “warboys.” In one scene, he takes a few errant shots with a rifle before handing it, along with the movie, over to Furiosa. Her aim proves true.\u003c/p>\n\u003cp>Miller invited \u003cem>Vagina Monologues\u003c/em> playwright Eve Ensler to the set in Namibia to help the cast try to understand the perspective of victims of sexual violence in war zones. A tall order for a summer popcorn flick, putting it mildly, not to mention for a film that, for all its brutality, sustains a lighter tone than most superhero films of recent vintage. (The sight gags are straight out of a Road Runner cartoon.) But it’s all of a piece. The feminist and ecological payload of the movie is so inseparable from its simple narrative of flight and pursuit that it never feels didactic. It feels, well, visionary.\u003c/p>\n\u003cp>That’s also true of the keenly observed anthropological details of the sunny hellscape Miller & Co. have created: It’s a yellow desert with a liquid blue sky, wherein sickly warboys spray chrome on their faces in the hope of proving themselves “shiny” in battle. An elderly woman carries various seeds on her back her through the wastes in the slender hope of replanting the world.\u003c/p>\n\u003cp>There are a handful of callbacks to the earlier movies – including a running gag about the unreliability of old shotgun shells – but they don’t call undue attention to themselves. In a pleasing bit of symmetry, the corrupt, red-eyed Immortan Joe is played by Hugh Keays-Byrne, the same actor who appeared as Toecutter, leader of the gang of art-school sadists who killed Max’s family in the 1979 original. Nicholas Hoult gives a terrific performance as Nux, a tumor-pocked child soldier who becomes, briefly, a real boy. And Theron deserves another Oscar.\u003c/p>\n\u003cp>And let’s also have one for Miller, who’s been trying to get this movie made for at least 15 years. After delays ranging from September 11th to the Iraq War to original star Gibson’s public dissolution to unexpected rainfall in Australia, he finally began shooting… in 2012, which was a while ago. George Lucas, James Cameron, and Peter Jackson all returned to this sort of epic fantasy/sci-fi after long sabbaticals, and all of them seemed to have lost, to greater or lesser degrees, the storytelling instincts that had served them so faithfully as younger, hungrier artists. Not so with Miller, whose three-decade second act as a maker of family-friendly films (two installments in the porcine \u003cem>Babe\u003c/em> franchise, plus two penguine \u003cem>Happy Feet\u003c/em>) has only made him a bolder and more energetic maestro of vehicular Thunderdome.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now, he’s willed into existence a $150 million tentpole that doesn’t condescend and feels like the coherent statement of a singular artist. If he can pull that off, how about an Imperator Furiosa \u003ca href=\"http://toybox.io9.com/black-widow-absent-from-a-toy-based-on-one-of-her-coole-1703705181\" target=\"_blank\" rel=\"noopener\">action figure\u003c/a>?\u003c/p>\n\n",
"blocks": [],
"excerpt": "More than 35 years after the release of the original \u003cem>Mad Max\u003c/em>, a new chapter emerges, starring Charlize Theron in what Chris Klimek calls a doomsday reinvention like nothing since \u003cem>The Matrix\u003c/em>.",
"status": "publish",
"parent": 0,
"modified": 1726705371,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 1163
},
"headData": {
"title": "A Visceral, Inventive Blockbuster Roars To Life In 'Mad Max: Fury Road' | KQED",
"description": "More than 35 years after the release of the original Mad Max, a new chapter emerges, starring Charlize Theron in what Chris Klimek calls a doomsday reinvention like nothing since The Matrix.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Visceral, Inventive Blockbuster Roars To Life In 'Mad Max: Fury Road'",
"datePublished": "2015-05-15T08:00:17-07:00",
"dateModified": "2024-09-18T17:22:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Chris Klimek",
"nprStoryId": "406009465",
"nprApiLink": "http://api.npr.org/query?id=406009465&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road?ft=nprml&f=406009465",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 14 May 2015 17:01:00 -0400",
"nprStoryDate": "Thu, 14 May 2015 17:01:14 -0400",
"nprLastModifiedDate": "Thu, 14 May 2015 17:01:14 -0400",
"path": "/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s the half-life of a post-apocalyptic action film franchise? Potential ticket-buyers born the day the most recent \u003cem>Mad Max \u003c/em>movie was released – summer 1985, one weekend after \u003cem>Back to the Future \u003c/em>– could be on their second marriages by now. The original \u003cem>Mad Max,\u003c/em> from 1979, cost less than $1 million in 2015 money. Though an international hit, today it plays more like a scrappy curiosity than a great action picture, notable for introducing the world to 23-year-old Mel Gibson, whose personal dystopian hellscape was still decades off. Its sequel, released in these United States as \u003cem>The Road Warrior,\u003c/em> is the original trio’s only essential entry.\u003c/p>\n\u003cp>But even that lo-fi, high-impact classic now looks like a mere sketch for the long-under-construction \u003cem>Mad Max: Fury Road, \u003c/em>a kinetic, hallucinatory, boldly feminist chase flick that, with its vibrant color palette, harrowing stunt work and show-don’t-tell style of yarn-spinning, leaves every Marvel movie and every \u003cem>Fast & Furious\u003c/em> in its irradiated dust. It’s the most visceral blockbuster since \u003cem>Gravity, \u003c/em>and it reinvigorates the doomsday genre like no film since \u003cem>The Matrix. \u003c/em>Miller, plucked-from-retirement cinematographer John Seale, and editors Jason Ballantine and Margaret Sixel render its overwhelmingly analog derring-do in a balletic and fluid legato, rather than the thudding staccato of a younger, more loudmouthed car-chase franchise that lives its life a quarter mile at a time (and never, ever shuts up about it). If \u003cem>Fury Road\u003c/em> has a moral, it’s the same one screenwriting professors have been reiterating since chase movies starred Steve McQueen: \u003cem>Action is character. \u003c/em>Words? They’re just talk.\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/hEJnMQG9ev8'\n title='//www.youtube.com/embed/hEJnMQG9ev8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tom Hardy, replacing Gibson as Max with as little explanation as when James Bond swaps faces, is nearly as tight-lipped in the role as Gibson was. (Miller cowrote the script with Nick Lathouris and veteran British comics artist Brendan McCarthy, who also contributed to eye-popping design work.) When he does speak, he sounds as if he’s just snuck up on Vin Diesel during one of his slurry monologues and swallowed him whole. Mercifully brief narration – from Max himself this time, a change the earlier movies – sets the table: He was a cop, in the last days of civilization. After motorbike-riding droogs ran down his wife and child, he wandered into the desert. Now he’s driven only to survive, so he says, but here he is again, defending the vulnerable against the cruel for a third time.\u003c/p>\n\u003cp>Make that \u003cem>co-\u003c/em>defending. Charlize Theron shares a movie-opening title card with Hardy and pulls a Linda Hamilton-in-\u003cem>Terminator 2,\u003c/em> elbowing the title character out of the way to become the film’s true protagonist. She plays Imperator Furiosa, a one-armed “war rig” jockey who paints her face with engine grease before going into battle on behalf of the water-hoarding warlord Immortan Joe. The McGuffins in his installment are, like Soylent Green, people: Specifically, Joe’s five jealously guarded slave “wives,” one of whom is carrying his child. Save for Joe’s son, they’re the only humans in the movie not visibly afflicted by cancer or gout or pallor or a missing limb. Except for Max, of course – and he’s crazier than Don Quixote. (He sees dead people now, and it’s starting to degrade his combat effectiveness.)\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>Anyway, Furiosa goes rogue to help these women escape. Wonder of wonders, we’re not subjected to a cinemas-interruptus monologue where she tells us \u003cem>why\u003c/em>. We get why. Theron’s eyes show us why. Max eventually becomes her ally through happenstance, not heroism: He was a Immortan Joe’s captive, too, kept alive for use as a “blood bag” for Joe’s chalk-skinned “warboys.” In one scene, he takes a few errant shots with a rifle before handing it, along with the movie, over to Furiosa. Her aim proves true.\u003c/p>\n\u003cp>Miller invited \u003cem>Vagina Monologues\u003c/em> playwright Eve Ensler to the set in Namibia to help the cast try to understand the perspective of victims of sexual violence in war zones. A tall order for a summer popcorn flick, putting it mildly, not to mention for a film that, for all its brutality, sustains a lighter tone than most superhero films of recent vintage. (The sight gags are straight out of a Road Runner cartoon.) But it’s all of a piece. The feminist and ecological payload of the movie is so inseparable from its simple narrative of flight and pursuit that it never feels didactic. It feels, well, visionary.\u003c/p>\n\u003cp>That’s also true of the keenly observed anthropological details of the sunny hellscape Miller & Co. have created: It’s a yellow desert with a liquid blue sky, wherein sickly warboys spray chrome on their faces in the hope of proving themselves “shiny” in battle. An elderly woman carries various seeds on her back her through the wastes in the slender hope of replanting the world.\u003c/p>\n\u003cp>There are a handful of callbacks to the earlier movies – including a running gag about the unreliability of old shotgun shells – but they don’t call undue attention to themselves. In a pleasing bit of symmetry, the corrupt, red-eyed Immortan Joe is played by Hugh Keays-Byrne, the same actor who appeared as Toecutter, leader of the gang of art-school sadists who killed Max’s family in the 1979 original. Nicholas Hoult gives a terrific performance as Nux, a tumor-pocked child soldier who becomes, briefly, a real boy. And Theron deserves another Oscar.\u003c/p>\n\u003cp>And let’s also have one for Miller, who’s been trying to get this movie made for at least 15 years. After delays ranging from September 11th to the Iraq War to original star Gibson’s public dissolution to unexpected rainfall in Australia, he finally began shooting… in 2012, which was a while ago. George Lucas, James Cameron, and Peter Jackson all returned to this sort of epic fantasy/sci-fi after long sabbaticals, and all of them seemed to have lost, to greater or lesser degrees, the storytelling instincts that had served them so faithfully as younger, hungrier artists. Not so with Miller, whose three-decade second act as a maker of family-friendly films (two installments in the porcine \u003cem>Babe\u003c/em> franchise, plus two penguine \u003cem>Happy Feet\u003c/em>) has only made him a bolder and more energetic maestro of vehicular Thunderdome.\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>Now, he’s willed into existence a $150 million tentpole that doesn’t condescend and feels like the coherent statement of a singular artist. If he can pull that off, how about an Imperator Furiosa \u003ca href=\"http://toybox.io9.com/black-widow-absent-from-a-toy-based-on-one-of-her-coole-1703705181\" target=\"_blank\" rel=\"noopener\">action figure\u003c/a>?\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road",
"authors": [
"byline_arts_10657581"
],
"categories": [
"arts_1"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10657585",
"label": "arts_137"
},
"arts_10633589": {
"type": "posts",
"id": "arts_10633589",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10633589",
"score": null,
"sort": [
1431097236000
]
},
"guestAuthors": [],
"slug": "tangerines-enemies-on-neutral-territory-in-a-time-of-war",
"title": "'Tangerines': Enemies On Neutral Territory In A Time Of War",
"publishDate": 1431097236,
"format": "standard",
"headTitle": "‘Tangerines’: Enemies On Neutral Territory In A Time Of War | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The fighting in Georgia can be hard to follow from afar, but it traces a theme that has been recurring ever since the Soviet Union shattered into 15 countries in 1991. Georgia was one of those lands that gained independence, but it soon degenerated into a war in the northern region of Abkhazia, where Russian-backed separatists carved out a piece of territory they claim and hold until this day.\u003c/p>\n\u003cp>The conflict feels eerily familiar now in the context of the current turmoil in Ukraine, and has haunted much of recent Georgian cinema (or, to be fair, the limited scope of Georgian cinema that reaches North American audiences). In 2012’s \u003cem>The Machine Which Makes Everything Disappear\u003c/em> and 2013’s \u003cem>In Bloom\u003c/em>, the war is never directly seen but its ravaging effect on Georgian society—the thousands of dead, the broken families that resulted—is evident. Zaza Urushadze’s \u003cem>Tangerines\u003c/em>, meanwhile, is actually set during the war, but the movie examines the conflict so circumspectly that it actually feels more distant than in either of the other films.\u003c/p>\n\u003cp>Urushadze’s movie, a surprise Oscar nominee earlier this year for Best Foreign Language Film, centers on Ivo (Lembit Ulfsak), an Estonian living in what is now a Georgian war zone. While the majority of his fellow Estonians have returned home to escape the conflict—according to an opening title card, Estonian communities in Georgia date back 100 years—Ivo has stayed to help his neighbor, Margus (Elmo Nüganen), harvest his tangerine crop, for which Ivo makes the crates.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v7OVjfSDcEU\u003c/p>\n\u003cp>Ivo and Margus seem relatively protected from the front lines of the war, but the conflict comes to them when two Abkhazian mercenaries arrive looking for food and proceed to get in a gunfight with Georgian soldiers outside Margus’s home. Two wounded men emerge—the first, Ahmed (Giorgi Nakashidze), an Abkhazian; the second, Niko (Misha Meskhi), a Georgian—and Ivo brings them both back to his house to help them recover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The set-up—two enemies living under the same roof, both owing their lives to a gracious, neutral party—is already more allegorical than realist, and Urushadze’s script never pushes much further. The arguments between Ahmed and Niko—who both promise Ivo they won’t kill each other in Ivo’s house—are simplistic: One says the land they’re on is Abkhazian, the other that it’s Georgian; Ahmed emasculates Niko; Niko calls Ahmed uneducated. It’s not, to say the least, a deep or particularly insightful examination of the roots of war.\u003c/p>\n\u003cp>Instead, it’s evident pretty early that Urushadze is pushing not toward an examination of war but to an appreciation of our common humanity. (Margus’s tangerines—superfluous and at risk of neglect during such a violent conflict—are overused as a symbol in this respect.) Some might reject the message outright, but even if it appeals, here it’s too far removed from reality to be effective. For one, the event that catalyzes the inevitable reconciliation of differences between Niko and Ahmed is nearly unbelievable in its contrivance. But most of all, because the conflict between Abkhazians and Georgians is so sketchily drawn, the ultimate heartwarming tone of the film seems not so much unearned as unspectacular.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There might be, to be fair, a problem of cultural translation. American films need only scantily explain the horrors and importance of the Vietnam War because they’re a matter of common knowledge at this point. The same may be true of the Abkhazian War in Georgia. But there’s still a difference between \u003cem>Tangerines\u003c/em> and the more successful \u003cem>In Bloom\u003c/em> or \u003cem>Machine\u003c/em>. The latter two don’t explain much about the war either, but you can see its effects on the faces of its characters and subjects. In Tangerines, that same work is left entirely to our imaginations.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Oscar-nominated film tries to speak to common humanity, struggles to make its themes feel real.",
"status": "publish",
"parent": 0,
"modified": 1726705377,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 681
},
"headData": {
"title": "'Tangerines': Enemies On Neutral Territory In A Time Of War | KQED",
"description": "The Oscar-nominated film tries to speak to common humanity, struggles to make its themes feel real.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Tangerines': Enemies On Neutral Territory In A Time Of War",
"datePublished": "2015-05-08T08:00:36-07:00",
"dateModified": "2024-09-18T17:22:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Tomas Hachard",
"nprStoryId": "399422603",
"nprApiLink": "http://api.npr.org/query?id=399422603&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/04/21/399422603/tangerines-enemies-on-neutral-territory-in-a-time-of-war?ft=nprml&f=399422603",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 21 Apr 2015 12:07:00 -0400",
"nprStoryDate": "Tue, 21 Apr 2015 12:07:43 -0400",
"nprLastModifiedDate": "Tue, 21 Apr 2015 12:07:43 -0400",
"path": "/arts/10633589/tangerines-enemies-on-neutral-territory-in-a-time-of-war",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fighting in Georgia can be hard to follow from afar, but it traces a theme that has been recurring ever since the Soviet Union shattered into 15 countries in 1991. Georgia was one of those lands that gained independence, but it soon degenerated into a war in the northern region of Abkhazia, where Russian-backed separatists carved out a piece of territory they claim and hold until this day.\u003c/p>\n\u003cp>The conflict feels eerily familiar now in the context of the current turmoil in Ukraine, and has haunted much of recent Georgian cinema (or, to be fair, the limited scope of Georgian cinema that reaches North American audiences). In 2012’s \u003cem>The Machine Which Makes Everything Disappear\u003c/em> and 2013’s \u003cem>In Bloom\u003c/em>, the war is never directly seen but its ravaging effect on Georgian society—the thousands of dead, the broken families that resulted—is evident. Zaza Urushadze’s \u003cem>Tangerines\u003c/em>, meanwhile, is actually set during the war, but the movie examines the conflict so circumspectly that it actually feels more distant than in either of the other films.\u003c/p>\n\u003cp>Urushadze’s movie, a surprise Oscar nominee earlier this year for Best Foreign Language Film, centers on Ivo (Lembit Ulfsak), an Estonian living in what is now a Georgian war zone. While the majority of his fellow Estonians have returned home to escape the conflict—according to an opening title card, Estonian communities in Georgia date back 100 years—Ivo has stayed to help his neighbor, Margus (Elmo Nüganen), harvest his tangerine crop, for which Ivo makes the crates.\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/v7OVjfSDcEU'\n title='//www.youtube.com/embed/v7OVjfSDcEU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ivo and Margus seem relatively protected from the front lines of the war, but the conflict comes to them when two Abkhazian mercenaries arrive looking for food and proceed to get in a gunfight with Georgian soldiers outside Margus’s home. Two wounded men emerge—the first, Ahmed (Giorgi Nakashidze), an Abkhazian; the second, Niko (Misha Meskhi), a Georgian—and Ivo brings them both back to his house to help them recover.\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 set-up—two enemies living under the same roof, both owing their lives to a gracious, neutral party—is already more allegorical than realist, and Urushadze’s script never pushes much further. The arguments between Ahmed and Niko—who both promise Ivo they won’t kill each other in Ivo’s house—are simplistic: One says the land they’re on is Abkhazian, the other that it’s Georgian; Ahmed emasculates Niko; Niko calls Ahmed uneducated. It’s not, to say the least, a deep or particularly insightful examination of the roots of war.\u003c/p>\n\u003cp>Instead, it’s evident pretty early that Urushadze is pushing not toward an examination of war but to an appreciation of our common humanity. (Margus’s tangerines—superfluous and at risk of neglect during such a violent conflict—are overused as a symbol in this respect.) Some might reject the message outright, but even if it appeals, here it’s too far removed from reality to be effective. For one, the event that catalyzes the inevitable reconciliation of differences between Niko and Ahmed is nearly unbelievable in its contrivance. But most of all, because the conflict between Abkhazians and Georgians is so sketchily drawn, the ultimate heartwarming tone of the film seems not so much unearned as unspectacular.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There might be, to be fair, a problem of cultural translation. American films need only scantily explain the horrors and importance of the Vietnam War because they’re a matter of common knowledge at this point. The same may be true of the Abkhazian War in Georgia. But there’s still a difference between \u003cem>Tangerines\u003c/em> and the more successful \u003cem>In Bloom\u003c/em> or \u003cem>Machine\u003c/em>. The latter two don’t explain much about the war either, but you can see its effects on the faces of its characters and subjects. In Tangerines, that same work is left entirely to our imaginations.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10633589/tangerines-enemies-on-neutral-territory-in-a-time-of-war",
"authors": [
"byline_arts_10633589"
],
"categories": [
"arts_1"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10633592",
"label": "arts_137"
},
"arts_10610373": {
"type": "posts",
"id": "arts_10610373",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10610373",
"score": null,
"sort": [
1430497823000
]
},
"guestAuthors": [],
"slug": "revisiting-the-melodrama-of-far-from-the-madding-crowd",
"title": "Revisiting The Melodrama Of 'Far From The Madding Crowd'",
"publishDate": 1430497823,
"format": "standard",
"headTitle": "Revisiting The Melodrama Of ‘Far From The Madding Crowd’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>A fierce spirit ahead of her Victorian time, vacillating between love, sex and business in choosing a partner to run the farm she refuses to see go under, \u003cem>Far From the Madding Crowd\u003c/em>‘s Bathsheba Everdene is also a woman for the ages and therefore amenable to endless re-imagining, up to and including Katniss Everdeen. All in white and gamboling through green meadows with adorable lambs and a very hot Alan Bates, Julie Christie made an unforgettable Bathsheba in John Schlesinger’s 1967 steamed-up adaptation of Thomas Hardy’s 1874 pastoral novel.\u003c/p>\n\u003cp>It was probably a smart move on Danish director Thomas Vinterberg’s part to draw a line under the intense Christie and cast an actress as different from her as chalk is from cheese in his handsome, slightly inert new adaptation of Hardy’s novel. I’m just not persuaded that the accomplished Carey Mulligan was the right choice to play a tragic heroine undone by gusting carnal passion. Mulligan’s controlled minimalism was exactly right for the enervated Daisy in \u003cem>The Great Gatsby\u003c/em>, but she’s not built to play a woman perpetually on the verge. Christie’s Bathsheba was lush and lusty and walking wounded, an open book of a woman. Pert, contained and cerebral, Mulligan cedes not an inch to the animal nature that allows the otherwise sophisticated Bathsheba to bloom in rural life. Mulligan’s Bathsheba looks and sounds like a Chelsea girl let loose among yokels, even when she rolls up her sleeves and gets down in the sheep dip with her manager, the hunk (Belgian actor Matthias Schoenarts).\u003c/p>\n\u003cp>Though lacking the requisite Dorset twang, Schoenarts, last seen lugging Marion Cotillard on his back in \u003cem>Rust and Bone\u003c/em>, makes a decent Gabriel, with a welcome side of bedroom eyes. Gabriel and Bathsheba share a rabid work ethic and a Hardy-esque love of the land, but being of the yokel class, Gabriel can’t compete as spouse material with gentleman farmer William Boldwood (Michael Sheen). And neither man is a match for Sergeant Francis Troy (Tom Sturridge), a Wickham-ish rascal who shows up like a bad penny wherever there’s ale on tap and money to be made without working. A few swishes of the attractively uniformed soldier’s sword around her braid, and Bathsheba’s a goner, even once she learns that the rat is otherwise engaged to Juno Temple.\u003c/p>\n\u003cp>As shot by Charlotte Bruuson Christenson, \u003cem>Far From the Madding Crowd\u003c/em> has a ravishing feel for the windswept beauty and unpredictable weather of England’s West Country. But Vinterberg, who made \u003cem>The Celebration\u003c/em> and \u003cem>The Hunt\u003c/em>, is also a compulsive underliner who sends a whole flock of sheep over a cliff and treats himself to a Freudian abundance of scything, swording and knife-sharpening among males of varying degrees of alpha, while off to the side the women go into more decorous rue-and-regret mode. There’s too much exposition in David Nicholls’ script, and while it’s possible that many moviegoers today have never read Hardy, the story pretty much tells itself without Bathsheba’s coquettish admonition — “I’m too independent for you” — to one of her suitors. Trust me, he noticed.\u003c/p>\n\u003cp>\u003cem>Far From the Madding Crowd\u003c/em> is a melodrama; we’re meant to lose ourselves in its extravagances. Yet for all its lavish visuals, the movie feels emotionally attenuated. It doesn’t help that the most fully realized man in the trio chasing Bathsheba is Boldwood, intelligently played by Sheen as a dull, conventional man undone by a brief, profoundly uncharacteristic burst of passion. As for Mulligan, she’s too nerveless and composed, too much in charge of herself to play a woman driven mad by the confining mores of her time, and by romantic choices whose parameters have been set in the world of men. Given her circumstances Bathsheba has always seemed to me a fully tragic figure in search of an opera. So it’s not Vinterberg’s fault, or Mulligan’s, that in every incarnation from Hardy onward, the poor woman merits nothing grander than a tacked-on happy ending.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Carey Mulligan plays the role once occupied by Julie Christie, but her very different take may be too controlled for its own good.",
"status": "publish",
"parent": 0,
"modified": 1726705382,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 719
},
"headData": {
"title": "Revisiting The Melodrama Of 'Far From The Madding Crowd' | KQED",
"description": "Carey Mulligan plays the role once occupied by Julie Christie, but her very different take may be too controlled for its own good.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Revisiting The Melodrama Of 'Far From The Madding Crowd'",
"datePublished": "2015-05-01T09:30:23-07:00",
"dateModified": "2024-09-18T17:23:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Ella Taylor",
"nprStoryId": "402824094",
"nprApiLink": "http://api.npr.org/query?id=402824094&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/04/30/402824094/revisiting-the-melodrama-of-far-from-the-madding-crowd?ft=nprml&f=402824094",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 30 Apr 2015 17:33:00 -0400",
"nprStoryDate": "Thu, 30 Apr 2015 17:33:21 -0400",
"nprLastModifiedDate": "Thu, 30 Apr 2015 17:33:21 -0400",
"path": "/arts/10610373/revisiting-the-melodrama-of-far-from-the-madding-crowd",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A fierce spirit ahead of her Victorian time, vacillating between love, sex and business in choosing a partner to run the farm she refuses to see go under, \u003cem>Far From the Madding Crowd\u003c/em>‘s Bathsheba Everdene is also a woman for the ages and therefore amenable to endless re-imagining, up to and including Katniss Everdeen. All in white and gamboling through green meadows with adorable lambs and a very hot Alan Bates, Julie Christie made an unforgettable Bathsheba in John Schlesinger’s 1967 steamed-up adaptation of Thomas Hardy’s 1874 pastoral novel.\u003c/p>\n\u003cp>It was probably a smart move on Danish director Thomas Vinterberg’s part to draw a line under the intense Christie and cast an actress as different from her as chalk is from cheese in his handsome, slightly inert new adaptation of Hardy’s novel. I’m just not persuaded that the accomplished Carey Mulligan was the right choice to play a tragic heroine undone by gusting carnal passion. Mulligan’s controlled minimalism was exactly right for the enervated Daisy in \u003cem>The Great Gatsby\u003c/em>, but she’s not built to play a woman perpetually on the verge. Christie’s Bathsheba was lush and lusty and walking wounded, an open book of a woman. Pert, contained and cerebral, Mulligan cedes not an inch to the animal nature that allows the otherwise sophisticated Bathsheba to bloom in rural life. Mulligan’s Bathsheba looks and sounds like a Chelsea girl let loose among yokels, even when she rolls up her sleeves and gets down in the sheep dip with her manager, the hunk (Belgian actor Matthias Schoenarts).\u003c/p>\n\u003cp>Though lacking the requisite Dorset twang, Schoenarts, last seen lugging Marion Cotillard on his back in \u003cem>Rust and Bone\u003c/em>, makes a decent Gabriel, with a welcome side of bedroom eyes. Gabriel and Bathsheba share a rabid work ethic and a Hardy-esque love of the land, but being of the yokel class, Gabriel can’t compete as spouse material with gentleman farmer William Boldwood (Michael Sheen). And neither man is a match for Sergeant Francis Troy (Tom Sturridge), a Wickham-ish rascal who shows up like a bad penny wherever there’s ale on tap and money to be made without working. A few swishes of the attractively uniformed soldier’s sword around her braid, and Bathsheba’s a goner, even once she learns that the rat is otherwise engaged to Juno Temple.\u003c/p>\n\u003cp>As shot by Charlotte Bruuson Christenson, \u003cem>Far From the Madding Crowd\u003c/em> has a ravishing feel for the windswept beauty and unpredictable weather of England’s West Country. But Vinterberg, who made \u003cem>The Celebration\u003c/em> and \u003cem>The Hunt\u003c/em>, is also a compulsive underliner who sends a whole flock of sheep over a cliff and treats himself to a Freudian abundance of scything, swording and knife-sharpening among males of varying degrees of alpha, while off to the side the women go into more decorous rue-and-regret mode. There’s too much exposition in David Nicholls’ script, and while it’s possible that many moviegoers today have never read Hardy, the story pretty much tells itself without Bathsheba’s coquettish admonition — “I’m too independent for you” — to one of her suitors. Trust me, he noticed.\u003c/p>\n\u003cp>\u003cem>Far From the Madding Crowd\u003c/em> is a melodrama; we’re meant to lose ourselves in its extravagances. Yet for all its lavish visuals, the movie feels emotionally attenuated. It doesn’t help that the most fully realized man in the trio chasing Bathsheba is Boldwood, intelligently played by Sheen as a dull, conventional man undone by a brief, profoundly uncharacteristic burst of passion. As for Mulligan, she’s too nerveless and composed, too much in charge of herself to play a woman driven mad by the confining mores of her time, and by romantic choices whose parameters have been set in the world of men. Given her circumstances Bathsheba has always seemed to me a fully tragic figure in search of an opera. So it’s not Vinterberg’s fault, or Mulligan’s, that in every incarnation from Hardy onward, the poor woman merits nothing grander than a tacked-on happy ending.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10610373/revisiting-the-melodrama-of-far-from-the-madding-crowd",
"authors": [
"byline_arts_10610373"
],
"categories": [
"arts_74"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10610376",
"label": "arts_137"
},
"arts_10610365": {
"type": "posts",
"id": "arts_10610365",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10610365",
"score": null,
"sort": [
1430496004000
]
},
"guestAuthors": [],
"slug": "bigger-and-louder-than-ever-can-the-avengers-still-satisfy",
"title": "Bigger And Louder Than Ever, Can The Avengers Still Satisfy?",
"publishDate": 1430496004,
"format": "standard",
"headTitle": "Bigger And Louder Than Ever, Can The Avengers Still Satisfy? | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The Marvel Cinematic Universe whirrs along with \u003cem>Avengers: Age Of Ultron,\u003c/em> which is a true sequel to 2012’s \u003cem>The Avengers\u003c/em> but also a reward of sorts for making it through the four smaller superhero flicks released in the interim. This is the social contract comic book fans have signed now, as Marvel Studios ends Phase 2 of its grand experiment. Put up with a steady stream of what we should start calling Marvelettes, each in itself the size of a traditional studio tentpole, and every few years you’ll reap an even grander, star-studded megalodon of heroism so awesome it threatens the end of the world.\u003c/p>\n\u003cp>But just because there’s a grand plan at work doesn’t mean it’s working. \u003cem>Age Of Ultron\u003c/em> feels like it should be firing on all cylinders. It reunites the colorful cabal of Iron Man, Captain America, Thor, Hulk, Black Widow, and Hawkeye with their one true leader, beloved sci-fi writer-director Joss Whedon. Over 140 minutes, it allows ample downtime for quips galore: There’s the bit where everyone takes turns trying to lift Thor’s Nordic-god hammer, and the running gag where Cap, who was flash-frozen in 1942, inadvertently reveals his more prudish sensibilities. It introduces at least four new faces from the comics, with cameos from the film franchise’s vaults. And it deals in transparent themes of evolution: the forward progress of humanity, of the evil it creates, and, ultimately, of the sort of heroism that must stop it.\u003c/p>\n\u003cp>And yet, the film lacks the giddiness of \u003cem>Guardians Of The Galaxy,\u003c/em> the stylistic touches of \u003cem>Captain America: The Winter Soldier,\u003c/em> the (relatively) deep introspection of \u003cem>Iron Man 3\u003c/em>. It is, in short, more disposable than the mere mortal blockbusters it was designed to outpace. This should defy Marvel Studios mathematics. How can a movie with \u003cem>more \u003c/em>stuff than its predecessors be \u003cem>less\u003c/em> fun?\u003c/p>\n\u003cp>What was so engaging about the first \u003cem>Avengers\u003c/em> movie, much more than the world-saving, was the thrill of seeing all these distinct personalities enter one another’s orbits for the first time. They could have killed each other; instead, they figured out how to work together, \u003cem>Dirty Dozen\u003c/em>-style. But all that tension is a nonissue for the sequel, which begins with six conflict-free good guys conducting a harmonious, impeccably choreographed raid on a Hydra stronghold. Iron Man (Robert Downey Jr. in helmet-vision) shoots death rays at the advancing hordes as Hawkeye (Jeremy Renner) picks them off from afar with his bow. Thor (Chris Hemsworth in full hammy pomposity) and Cap (Chris Evans) pull a combination hammer-shield maneuver that brings the house down. Even Hulk (Mark Ruffalo when un-greened) seems in control of himself. Later, Black Widow (Scarlett Johanssson, still clad in impractical cleavage-baring leather) will sooth him back to normal, with hints of a superromance in the air.\u003c/p>\n\u003cp>This is the purest state of the Avengers, the status the first film took its entire length to build toward, and it doesn’t look much different from an \u003cem>Expendables\u003c/em> or \u003cem>Fast & Furious\u003c/em> movie. As fun as the action is, it drives home the inescapable point that this dynamic team must remain composed of static, increasingly stale characters. Whedon might be thematically pressuring them to evolve, but they can’t, for fear of jeopardizing the never-ending Marvel movie mission. So instead, they must push and pull as a single unit, crowding the screen, with every Thor one-liner and every assurance that Hawkeye has value perfectly calibrated for group effect. Someone, anyone, please drive the Avengers apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You there, the snarky sentient virus with the body of a rejected Iron Man prototype and the voice of James Spader. What’s your name? Ultron? You’ll do for now. Born out of a failed attempt by Tony Stark/Iron Man to create an automated peacekeeping robot by cross-breeding his own computer program with an alien element, Ultron instead makes the philosophical leap to conclude that true world peace will lie only in the Avengers’ destruction. He lives in the cloud and is at his creepiest when inhabiting a half-formed metal shell that can stumble and gesture like a zombie.\u003c/p>\n\u003cp>Ultron does briefly succeed in sowing doubt among our heroes, but only with a little help from the mind-control powers of genetically modified Eastern European refugee Wanda Maximoff (Elizabeth Olsen, flipping her brainwashed/brainwasher dynamic from \u003cem>Martha Marcy May Marlene\u003c/em>). She tricks several Avengers into seeing visions of their greatest fears, leading to the film’s best — and most Whedonesque — sequences: Cap’s flashbacks to WWII pastels, Black Widow’s icy KGB training. It also sets up a great battle between Iron Man and a possessed Hulk, who flails like a slippery, muscle-clad eel.\u003c/p>\n\u003cp>But we never really sense that a wedge is being driven between any of the Avengers. Instead of taking on the conflict, they just absorb it, turning Wanda (aka Scarlet Witch) to the light midway through and adding two more good guys in the process. Their ranks are so crowded, they’ll soon be able to fill a Comic-Con by themselves. Why care about any one of them anymore?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Age Of Ultron\u003c/em> has a globe-spanning storyline and entire cities being lifted into the air, yet it feels rudimentary, perfunctory. Next year the MCU’s two most ideologically opposed good guys, Cap and Stark, will mount separate factions in \u003cem>Captain America: Civil War\u003c/em>. The award for reaching Phase 3, apparently, will be character development.\u003c/p>\n\n",
"blocks": [],
"excerpt": "\u003cem>Avengers: Age Of Ultron \u003c/em>continues the march of the Marvel Cinematic Universe toward more and more and more of everything. But that's not the same thing as making the movies better.",
"status": "publish",
"parent": 0,
"modified": 1726705387,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 950
},
"headData": {
"title": "Bigger And Louder Than Ever, Can The Avengers Still Satisfy? | KQED",
"description": "Avengers: Age Of Ultron continues the march of the Marvel Cinematic Universe toward more and more and more of everything. But that's not the same thing as making the movies better.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bigger And Louder Than Ever, Can The Avengers Still Satisfy?",
"datePublished": "2015-05-01T09:00:04-07:00",
"dateModified": "2024-09-18T17:23:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Andrew Lapin",
"nprStoryId": "402823371",
"nprApiLink": "http://api.npr.org/query?id=402823371&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/04/30/402823371/bigger-and-louder-than-ever-can-the-avengers-still-satisfy?ft=nprml&f=402823371",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 30 Apr 2015 19:13:00 -0400",
"nprStoryDate": "Thu, 30 Apr 2015 17:53:00 -0400",
"nprLastModifiedDate": "Thu, 30 Apr 2015 19:13:40 -0400",
"path": "/arts/10610365/bigger-and-louder-than-ever-can-the-avengers-still-satisfy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Marvel Cinematic Universe whirrs along with \u003cem>Avengers: Age Of Ultron,\u003c/em> which is a true sequel to 2012’s \u003cem>The Avengers\u003c/em> but also a reward of sorts for making it through the four smaller superhero flicks released in the interim. This is the social contract comic book fans have signed now, as Marvel Studios ends Phase 2 of its grand experiment. Put up with a steady stream of what we should start calling Marvelettes, each in itself the size of a traditional studio tentpole, and every few years you’ll reap an even grander, star-studded megalodon of heroism so awesome it threatens the end of the world.\u003c/p>\n\u003cp>But just because there’s a grand plan at work doesn’t mean it’s working. \u003cem>Age Of Ultron\u003c/em> feels like it should be firing on all cylinders. It reunites the colorful cabal of Iron Man, Captain America, Thor, Hulk, Black Widow, and Hawkeye with their one true leader, beloved sci-fi writer-director Joss Whedon. Over 140 minutes, it allows ample downtime for quips galore: There’s the bit where everyone takes turns trying to lift Thor’s Nordic-god hammer, and the running gag where Cap, who was flash-frozen in 1942, inadvertently reveals his more prudish sensibilities. It introduces at least four new faces from the comics, with cameos from the film franchise’s vaults. And it deals in transparent themes of evolution: the forward progress of humanity, of the evil it creates, and, ultimately, of the sort of heroism that must stop it.\u003c/p>\n\u003cp>And yet, the film lacks the giddiness of \u003cem>Guardians Of The Galaxy,\u003c/em> the stylistic touches of \u003cem>Captain America: The Winter Soldier,\u003c/em> the (relatively) deep introspection of \u003cem>Iron Man 3\u003c/em>. It is, in short, more disposable than the mere mortal blockbusters it was designed to outpace. This should defy Marvel Studios mathematics. How can a movie with \u003cem>more \u003c/em>stuff than its predecessors be \u003cem>less\u003c/em> fun?\u003c/p>\n\u003cp>What was so engaging about the first \u003cem>Avengers\u003c/em> movie, much more than the world-saving, was the thrill of seeing all these distinct personalities enter one another’s orbits for the first time. They could have killed each other; instead, they figured out how to work together, \u003cem>Dirty Dozen\u003c/em>-style. But all that tension is a nonissue for the sequel, which begins with six conflict-free good guys conducting a harmonious, impeccably choreographed raid on a Hydra stronghold. Iron Man (Robert Downey Jr. in helmet-vision) shoots death rays at the advancing hordes as Hawkeye (Jeremy Renner) picks them off from afar with his bow. Thor (Chris Hemsworth in full hammy pomposity) and Cap (Chris Evans) pull a combination hammer-shield maneuver that brings the house down. Even Hulk (Mark Ruffalo when un-greened) seems in control of himself. Later, Black Widow (Scarlett Johanssson, still clad in impractical cleavage-baring leather) will sooth him back to normal, with hints of a superromance in the air.\u003c/p>\n\u003cp>This is the purest state of the Avengers, the status the first film took its entire length to build toward, and it doesn’t look much different from an \u003cem>Expendables\u003c/em> or \u003cem>Fast & Furious\u003c/em> movie. As fun as the action is, it drives home the inescapable point that this dynamic team must remain composed of static, increasingly stale characters. Whedon might be thematically pressuring them to evolve, but they can’t, for fear of jeopardizing the never-ending Marvel movie mission. So instead, they must push and pull as a single unit, crowding the screen, with every Thor one-liner and every assurance that Hawkeye has value perfectly calibrated for group effect. Someone, anyone, please drive the Avengers apart.\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>You there, the snarky sentient virus with the body of a rejected Iron Man prototype and the voice of James Spader. What’s your name? Ultron? You’ll do for now. Born out of a failed attempt by Tony Stark/Iron Man to create an automated peacekeeping robot by cross-breeding his own computer program with an alien element, Ultron instead makes the philosophical leap to conclude that true world peace will lie only in the Avengers’ destruction. He lives in the cloud and is at his creepiest when inhabiting a half-formed metal shell that can stumble and gesture like a zombie.\u003c/p>\n\u003cp>Ultron does briefly succeed in sowing doubt among our heroes, but only with a little help from the mind-control powers of genetically modified Eastern European refugee Wanda Maximoff (Elizabeth Olsen, flipping her brainwashed/brainwasher dynamic from \u003cem>Martha Marcy May Marlene\u003c/em>). She tricks several Avengers into seeing visions of their greatest fears, leading to the film’s best — and most Whedonesque — sequences: Cap’s flashbacks to WWII pastels, Black Widow’s icy KGB training. It also sets up a great battle between Iron Man and a possessed Hulk, who flails like a slippery, muscle-clad eel.\u003c/p>\n\u003cp>But we never really sense that a wedge is being driven between any of the Avengers. Instead of taking on the conflict, they just absorb it, turning Wanda (aka Scarlet Witch) to the light midway through and adding two more good guys in the process. Their ranks are so crowded, they’ll soon be able to fill a Comic-Con by themselves. Why care about any one of them anymore?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Age Of Ultron\u003c/em> has a globe-spanning storyline and entire cities being lifted into the air, yet it feels rudimentary, perfunctory. Next year the MCU’s two most ideologically opposed good guys, Cap and Stark, will mount separate factions in \u003cem>Captain America: Civil War\u003c/em>. The award for reaching Phase 3, apparently, will be character development.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10610365/bigger-and-louder-than-ever-can-the-avengers-still-satisfy",
"authors": [
"byline_arts_10610365"
],
"categories": [
"arts_1"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10610366",
"label": "arts_137"
},
"arts_10605891": {
"type": "posts",
"id": "arts_10605891",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10605891",
"score": null,
"sort": [
1430345229000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1430345229,
"format": "standard",
"title": "Waka Flocka Flame Is Hiring",
"headTitle": "Waka Flocka Flame Is Hiring | KQED",
"content": "\u003cp>They say you can’t overestimate the power of a good handshake. If that’s the case, my job interview with Waka Flocka Flame was doomed from the start.\u003c/p>\n\u003cp>I went in for the sort of greeting I’m familiar with -– a clasp that pivots up into a grip and pulls in for a hug — but it unexpectedly continued. He raised our wrists to shoulder level, pointed his fingers out, locked them with mine … but by that point I was long since lost. He looked at me and smiled sympathetically. First impressions, I thought, resigned, are everything.\u003c/p>\n\u003cp>Months ago, I saw the VIP package deal for the New York City stop on Waka Flocka Flame’s current tour: $75 to get backstage, a photo and a personal resume review. Now I was spending a couple hours watching my prospective employer feed everyone competing for the position — scores of qualified candidates — into a blender of impossibly high expectations. He not only had each applicant’s resume read aloud to them, he made them demonstrate their skills on the spot, against the clock. He scrutinized each submission: Was it structured soundly? Was it pleasing to the eye? Was it functional, did it pack a punch? Most importantly: Could it get him and all his friends really high?\u003c/p>\n\u003cp>Waka Flocka Flame is hiring a professional blunt roller, and he is not f—ing around.\u003c/p>\n\u003cp>Flocka became one of the biggest rappers in the world in 2010 with the release of \u003cem>Flockaveli\u003c/em>, an album of monstrous, anthemic beats and endlessly-quotable lyrics. “I rap hook to hook,” \u003ca href=\"https://www.youtube.com/watch?v=7FHT82_HA9w\" target=\"_blank\" rel=\"noopener\">he said in 2012\u003c/a>. “If I don’t feel it, I can’t talk about it.” You could extend this sentiment to almost everything he does; he wants to connect person-to-person just as much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is why Flocka isn’t using a headhunter. He’s willing to review hundreds of resumes himself and eventually pay $50,000 a year to someone tasked with following him everywhere and producing the perfect blunt on command. The fans in the line that coiled through the basement of New York City’s Webster Hall hours before his sold-out show are there for the story, yes, but they also want a job that honors their particular expertise. Don’t we all?\u003c/p>\n\u003cp>Waka Flocka Flame has been trying to hire for the position since September, 2014. It was a year before that, when he was on the road in Europe for six months, that he realized he needed professional assistance. “How polished is it if you wake up in the morning, you’ve got like five rolled, with breakfast right there?” he asks me. “I can’t see nothing more beautiful except waking up next to your wife and your daughter.” The job, as he imagines it, will require travel and flexibility. “I don’t smoke a lot no more every day,” he said, three joints splayed out before him. “I might not smoke a blunt for two days, three days. But then one day you might run through 100 blunts. You might end up rolling up a quarter pound. I’m talking about finger cramps.”\u003c/p>\n\u003cp>A demanding gig, no doubt. But worth it if you consider the spoils. The salary, the free weed and the prestige of having out-twisted the competition to be America’s foremost weed craftsman aside, let’s say you’re one of these humble stoners. Years of smoking under your belt. Deceptions on deceptions on deceptions, plus some white lies, hiding your habit from your family, your employer, society. And all the while, alone and in private gatherings with friends or at concerts, you hone your craft. And now, thanks to an enterprising rapper, champion of your cause, you might emerge from the shadows. Validation.\u003c/p>\n\u003cp>But in the end, it’s all about the blunt. In its platonic form it’s as long and wide as a man’s middle finger, but conical and smooth. Tightly packed and sturdy enough to bounce when thrown on a table without splitting and spilling its guts. This skill, galvanized in the pressure cooker of illicit fetish, is what Flocka is looking for. “Everybody thinks I’m playing,” he told me between applicants. “But I’m so serious.”\u003c/p>\n\u003cfigure id=\"attachment_10605893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg\" alt=\"Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10605893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>If there ever were a time to find this talent, it was that night: 4/20, the pothead’s Christmas. Maybe they were in that very room. After some \u003ca href=\"http://www.rollingstone.com/music/videos/waka-flocka-flame-for-president-watch-his-exclusive-campaign-video-20150420\" target=\"_blank\" rel=\"noopener\">very presidential\u003c/a> grip-and-grabs, Flocka, along with his two openers, Azizi Gibson and Ben G, took his place behind a desk to find out.\u003c/p>\n\u003cp>They sit three across like \u003cem>American Idol\u003c/em> judges to receive their first applicant, a skinny kid named Cody Watson. He came prepared. With a gold watch on his wrist, he opens a three-ring binder to begin a business school pitch comp-level presentation. First, the products. He presents three breeds: “studio,” “squad,” and “stage,” fine-tuned in weight, mixture and roll to suit each circumstance. It’s as close as you can get to “try-before-you-buy” without actually toking up. He displays some certification he got in California. The judges are impressed and take his number down.\u003c/p>\n\u003cp>The next guy is less concerned with politesse. He didn’t bring a resume, but he isn’t empty-handed. He whips out rolling papers and a bag of weed and starts rolling. The idea might be ballsy, but he’s not. His hands are shaking, sweat filming his forehead. Flocka imagines a scenario to put him in the pressure cooker. “There’s a $10 million deal on the line,” he says. “Can you perform?” How the blunt helps in that scenario is unclear, but irrelevant: the kid is quivering so badly that ground up weed is spilling on the interview desk. He finally wraps up a conical joint, with the clock ticking to zero. Flocka examines it. “It’s a little lumpy,” he says, dismissing him. “We’re gonna call you ‘Shakes.’ ”\u003c/p>\n\u003cp>Next up is JP. He’s only got one tape on his phone, Flocka’s new mixtape, \u003cem>Salute Me or Shoot Me V\u003c/em>. He whips out a pathetically small joint. “This guy won’t get his left ear high,” Ben G scoffs, signaling the hook.\u003c/p>\n\u003cp>Candidates file in quickly and are dispatched just as fast. One shows up without weed, even though he claims he’s been rolling since he was 10. He’s denied, but hands Flocka a free pair of Capri-cut sweatpants, which may have been his original intent, before walking out. The next, in skintight weed leaf jeans, offers a tiny blunt, which is derisively deemed a “mosquito head” and swiftly rejected.\u003c/p>\n\u003cp>Another guy named Cody shows up. He is empty-handed.\u003c/p>\n\u003cp>“I don’t really roll blunts, but I can learn,” he Hail Marys.\u003c/p>\n\u003cp>He gets a long stare.\u003c/p>\n\u003cp>“You like playing Xbox?” Waka Flocka asks.\u003c/p>\n\u003cp>“Um, yeah, I play …”\u003c/p>\n\u003cp>“Play Xbox, don’t play me.”\u003c/p>\n\u003cp>His look of bafflement irritates Waka. He’s been very clear. This is not a joke. “Can you handle drinking every night? Smoking blunts? If you wake up hungover, you’re fired!”\u003c/p>\n\u003cp>Another candidate claims she was frisked at the door. “If you can’t smuggle dope into the building, how will you conceal it from the police?” Amateurs.\u003c/p>\n\u003cp>Now he has getting pulled over on his mind. “We’re all on the bus, we’ve got three ounces of weed. What do we do?” Flocka grills Nikita and Scott, artisans who made it to a second round of questioning. “Throw it out the window?” Nikita offers. Flocka covers his face. “Not the best answer.”\u003c/p>\n\u003cp>The line dwindles as Flocka cheerfully obliges pictures and handshakes from those not interviewing, autographs paraphernalia and vetoes joints extracted from socks and bras. An older Irish woman asks him to sign some posters. A Cameroonian man blesses him with a shaman’s stick and passes forward a travel guide to his country. Flocka must be five joints deep now, but he’s still kissing babies, as it were.\u003c/p>\n\u003cp>The room finally clears, there’s just one applicant left.\u003c/p>\n\u003cp>Me.\u003c/p>\n\u003cp>Having watched Waka Flocka Flame’s rigorous gauntlet leave only a few standing, I don’t like my chances. I’ve got sweaty palms. Most of my experience with weed is secondhand. Worse, I’ve never rolled a blunt before. What am I doing here?\u003c/p>\n\u003cp>Flocka looks at me. “We’ve got a resume,” he calls to Azizi and Ben G. The panel recites my cover letter. “You were the first person to bring a recommendation letter,” Flocka says. “But you’re not the first person to show up without a blunt. All of this has nothing to do with rolling marijuana.” “So that’s a no?” I ask, as if I didn’t know the answer. “I think you’re overqualified for the position,” he notifies me, kindly. Another rejection on the road to perfection.\u003c/p>\n\u003cp>Flocka took the stage as I drowned my disappointment in a beer. The audience broke into a moshpit almost immediately. Bras flew onstage. His bouncers were throwing water bottles to the throng, and he made it three — maybe four — songs into his set before diving in with the crowd. On the balcony fans squeeze against the banister, and I watch through their phone screens as Flocka bounds into the pit in front of the stage and throws his body onto his people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He’s there with a blunt in his mouth as they lift him up, higher and higher, over the barrier. He’s there, in the crowd now, tossed through strangers that turn to him like iron filings to a magnet. He’s there, among his people, closer to them than to the show itself. They look to him, and he looks back. \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=Waka+Flocka+Flame+Is+Hiring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1801,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 32
},
"modified": 1705047202,
"excerpt": "The rapper isn't using a headhunter. He's interviewing applicants for the position of fulltime blunt roller himself.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The rapper isn't using a headhunter. He's interviewing applicants for the position of fulltime blunt roller himself.",
"title": "Waka Flocka Flame Is Hiring | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Waka Flocka Flame Is Hiring",
"datePublished": "2015-04-29T15:07:09-07:00",
"dateModified": "2024-01-12T00:13:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "waka-flocka-flame-is-hiring",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=401981924&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Charlie Kaplan",
"nprStoryDate": "Fri, 24 Apr 2015 14:00:00 -0400",
"nprLastModifiedDate": "Sat, 25 Apr 2015 00:28:27 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/therecord/2015/04/24/401981924/waka-flocka-flame-is-hiring?ft=nprml&f=401981924",
"nprStoryId": "401981924",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 25 Apr 2015 00:27:00 -0400",
"path": "/arts/10605891/waka-flocka-flame-is-hiring",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say you can’t overestimate the power of a good handshake. If that’s the case, my job interview with Waka Flocka Flame was doomed from the start.\u003c/p>\n\u003cp>I went in for the sort of greeting I’m familiar with -– a clasp that pivots up into a grip and pulls in for a hug — but it unexpectedly continued. He raised our wrists to shoulder level, pointed his fingers out, locked them with mine … but by that point I was long since lost. He looked at me and smiled sympathetically. First impressions, I thought, resigned, are everything.\u003c/p>\n\u003cp>Months ago, I saw the VIP package deal for the New York City stop on Waka Flocka Flame’s current tour: $75 to get backstage, a photo and a personal resume review. Now I was spending a couple hours watching my prospective employer feed everyone competing for the position — scores of qualified candidates — into a blender of impossibly high expectations. He not only had each applicant’s resume read aloud to them, he made them demonstrate their skills on the spot, against the clock. He scrutinized each submission: Was it structured soundly? Was it pleasing to the eye? Was it functional, did it pack a punch? Most importantly: Could it get him and all his friends really high?\u003c/p>\n\u003cp>Waka Flocka Flame is hiring a professional blunt roller, and he is not f—ing around.\u003c/p>\n\u003cp>Flocka became one of the biggest rappers in the world in 2010 with the release of \u003cem>Flockaveli\u003c/em>, an album of monstrous, anthemic beats and endlessly-quotable lyrics. “I rap hook to hook,” \u003ca href=\"https://www.youtube.com/watch?v=7FHT82_HA9w\" target=\"_blank\" rel=\"noopener\">he said in 2012\u003c/a>. “If I don’t feel it, I can’t talk about it.” You could extend this sentiment to almost everything he does; he wants to connect person-to-person just as much.\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>This is why Flocka isn’t using a headhunter. He’s willing to review hundreds of resumes himself and eventually pay $50,000 a year to someone tasked with following him everywhere and producing the perfect blunt on command. The fans in the line that coiled through the basement of New York City’s Webster Hall hours before his sold-out show are there for the story, yes, but they also want a job that honors their particular expertise. Don’t we all?\u003c/p>\n\u003cp>Waka Flocka Flame has been trying to hire for the position since September, 2014. It was a year before that, when he was on the road in Europe for six months, that he realized he needed professional assistance. “How polished is it if you wake up in the morning, you’ve got like five rolled, with breakfast right there?” he asks me. “I can’t see nothing more beautiful except waking up next to your wife and your daughter.” The job, as he imagines it, will require travel and flexibility. “I don’t smoke a lot no more every day,” he said, three joints splayed out before him. “I might not smoke a blunt for two days, three days. But then one day you might run through 100 blunts. You might end up rolling up a quarter pound. I’m talking about finger cramps.”\u003c/p>\n\u003cp>A demanding gig, no doubt. But worth it if you consider the spoils. The salary, the free weed and the prestige of having out-twisted the competition to be America’s foremost weed craftsman aside, let’s say you’re one of these humble stoners. Years of smoking under your belt. Deceptions on deceptions on deceptions, plus some white lies, hiding your habit from your family, your employer, society. And all the while, alone and in private gatherings with friends or at concerts, you hone your craft. And now, thanks to an enterprising rapper, champion of your cause, you might emerge from the shadows. Validation.\u003c/p>\n\u003cp>But in the end, it’s all about the blunt. In its platonic form it’s as long and wide as a man’s middle finger, but conical and smooth. Tightly packed and sturdy enough to bounce when thrown on a table without splitting and spilling its guts. This skill, galvanized in the pressure cooker of illicit fetish, is what Flocka is looking for. “Everybody thinks I’m playing,” he told me between applicants. “But I’m so serious.”\u003c/p>\n\u003cfigure id=\"attachment_10605893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg\" alt=\"Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10605893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/20150420_npr_flocka_pvy_03592_wide-08aee49caf433bb05cdb07e27916926919112c09.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Waka Flocka Fame amid the crowd at Webster Hall in New York City on April 20. (Polina Yamshchikov for NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>If there ever were a time to find this talent, it was that night: 4/20, the pothead’s Christmas. Maybe they were in that very room. After some \u003ca href=\"http://www.rollingstone.com/music/videos/waka-flocka-flame-for-president-watch-his-exclusive-campaign-video-20150420\" target=\"_blank\" rel=\"noopener\">very presidential\u003c/a> grip-and-grabs, Flocka, along with his two openers, Azizi Gibson and Ben G, took his place behind a desk to find out.\u003c/p>\n\u003cp>They sit three across like \u003cem>American Idol\u003c/em> judges to receive their first applicant, a skinny kid named Cody Watson. He came prepared. With a gold watch on his wrist, he opens a three-ring binder to begin a business school pitch comp-level presentation. First, the products. He presents three breeds: “studio,” “squad,” and “stage,” fine-tuned in weight, mixture and roll to suit each circumstance. It’s as close as you can get to “try-before-you-buy” without actually toking up. He displays some certification he got in California. The judges are impressed and take his number down.\u003c/p>\n\u003cp>The next guy is less concerned with politesse. He didn’t bring a resume, but he isn’t empty-handed. He whips out rolling papers and a bag of weed and starts rolling. The idea might be ballsy, but he’s not. His hands are shaking, sweat filming his forehead. Flocka imagines a scenario to put him in the pressure cooker. “There’s a $10 million deal on the line,” he says. “Can you perform?” How the blunt helps in that scenario is unclear, but irrelevant: the kid is quivering so badly that ground up weed is spilling on the interview desk. He finally wraps up a conical joint, with the clock ticking to zero. Flocka examines it. “It’s a little lumpy,” he says, dismissing him. “We’re gonna call you ‘Shakes.’ ”\u003c/p>\n\u003cp>Next up is JP. He’s only got one tape on his phone, Flocka’s new mixtape, \u003cem>Salute Me or Shoot Me V\u003c/em>. He whips out a pathetically small joint. “This guy won’t get his left ear high,” Ben G scoffs, signaling the hook.\u003c/p>\n\u003cp>Candidates file in quickly and are dispatched just as fast. One shows up without weed, even though he claims he’s been rolling since he was 10. He’s denied, but hands Flocka a free pair of Capri-cut sweatpants, which may have been his original intent, before walking out. The next, in skintight weed leaf jeans, offers a tiny blunt, which is derisively deemed a “mosquito head” and swiftly rejected.\u003c/p>\n\u003cp>Another guy named Cody shows up. He is empty-handed.\u003c/p>\n\u003cp>“I don’t really roll blunts, but I can learn,” he Hail Marys.\u003c/p>\n\u003cp>He gets a long stare.\u003c/p>\n\u003cp>“You like playing Xbox?” Waka Flocka asks.\u003c/p>\n\u003cp>“Um, yeah, I play …”\u003c/p>\n\u003cp>“Play Xbox, don’t play me.”\u003c/p>\n\u003cp>His look of bafflement irritates Waka. He’s been very clear. This is not a joke. “Can you handle drinking every night? Smoking blunts? If you wake up hungover, you’re fired!”\u003c/p>\n\u003cp>Another candidate claims she was frisked at the door. “If you can’t smuggle dope into the building, how will you conceal it from the police?” Amateurs.\u003c/p>\n\u003cp>Now he has getting pulled over on his mind. “We’re all on the bus, we’ve got three ounces of weed. What do we do?” Flocka grills Nikita and Scott, artisans who made it to a second round of questioning. “Throw it out the window?” Nikita offers. Flocka covers his face. “Not the best answer.”\u003c/p>\n\u003cp>The line dwindles as Flocka cheerfully obliges pictures and handshakes from those not interviewing, autographs paraphernalia and vetoes joints extracted from socks and bras. An older Irish woman asks him to sign some posters. A Cameroonian man blesses him with a shaman’s stick and passes forward a travel guide to his country. Flocka must be five joints deep now, but he’s still kissing babies, as it were.\u003c/p>\n\u003cp>The room finally clears, there’s just one applicant left.\u003c/p>\n\u003cp>Me.\u003c/p>\n\u003cp>Having watched Waka Flocka Flame’s rigorous gauntlet leave only a few standing, I don’t like my chances. I’ve got sweaty palms. Most of my experience with weed is secondhand. Worse, I’ve never rolled a blunt before. What am I doing here?\u003c/p>\n\u003cp>Flocka looks at me. “We’ve got a resume,” he calls to Azizi and Ben G. The panel recites my cover letter. “You were the first person to bring a recommendation letter,” Flocka says. “But you’re not the first person to show up without a blunt. All of this has nothing to do with rolling marijuana.” “So that’s a no?” I ask, as if I didn’t know the answer. “I think you’re overqualified for the position,” he notifies me, kindly. Another rejection on the road to perfection.\u003c/p>\n\u003cp>Flocka took the stage as I drowned my disappointment in a beer. The audience broke into a moshpit almost immediately. Bras flew onstage. His bouncers were throwing water bottles to the throng, and he made it three — maybe four — songs into his set before diving in with the crowd. On the balcony fans squeeze against the banister, and I watch through their phone screens as Flocka bounds into the pit in front of the stage and throws his body onto his people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s there with a blunt in his mouth as they lift him up, higher and higher, over the barrier. He’s there, in the crowd now, tossed through strangers that turn to him like iron filings to a magnet. He’s there, among his people, closer to them than to the show itself. They look to him, and he looks back. \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=Waka+Flocka+Flame+Is+Hiring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10605891/waka-flocka-flame-is-hiring",
"authors": [
"byline_arts_10605891"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10605892",
"label": "arts_137"
},
"arts_10605593": {
"type": "posts",
"id": "arts_10605593",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10605593",
"score": null,
"sort": [
1430335711000
]
},
"guestAuthors": [],
"slug": "why-video-games-matter",
"title": "Why Video Games Matter",
"publishDate": 1430335711,
"format": "standard",
"headTitle": "Why Video Games Matter | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Human beings are storytellers. This basic, constant instinct is evident throughout history — from creation narratives told around the night’s fire to Greek playwrights to the first novels to the flickering images of early motion pictures.\u003c/p>\n\u003cp>What has changed, though, is \u003cem>how we tell stories\u003c/em>. Each of our technologies, from the printing press to celluloid film, has opened up revolutionary new possibilities that have fundamentally altered the way stories can be told. That revolutionary role of technology is at work again now, and it’s why we should be paying attention to video games.\u003c/p>\n\u003cp>Yes, video games.\u003c/p>\n\u003cp>To convince you of this claim, I would like to present my “Exhibit A” for “Why Video Games Matter”: A truly remarkable piece of work called \u003cem>\u003ca href=\"http://www.telegraph.co.uk/technology/video-games/10091838/The-Last-of-Us-interview-with-Neil-Druckmann-and-Ashley-Johnson.html\">The Last of Us\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>But, let’s get a few things out of the way first. I am relatively new to gaming, having begun just five years ago. That is when I finally relented and bought my then-15-year-old son a PS3. So, if you are a long-time gamer, you will likely find these musings old news. Feel free to complain in the comments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The point is that, for many folks, “video game” still doesn’t conjure up anything considered worthwhile. For them, it’s all mindless first-person shooters and endless virtual carnage. So, if you think, “Video games, ugh!,” then I want just a few minutes of your time.\u003c/p>\n\u003cp>One last thing: There are spoilers up ahead. Big ones. I am basically going to tell you how the story of \u003cem>The Last of Us\u003c/em> ends to illustrate why video games can be so revolutionary. If you want to play the game at some point, you might want to stop right here.\u003c/p>\n\u003cp>So, what’s the big deal?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs to a time-honored story genre. It’s a post-apocalypse narrative. The story begins in the present with the outbreak of a pandemic that destroys the minds of the “infected” — turning them into violent zombies. We then jump ahead to 20 years later, after the weight of the pandemic has left the nation in ruins. Just a handful of cities are left maintaining protected quarantine zones. These are run by a military (all that’s left of the government) that has imposed a much-hated martial law.\u003c/p>\n\u003cp>Yes, it sounds familiar — and I am sure you think you’ve seen and heard it all before. After all, when it comes to the zombie apocalypse, there’s the film \u003ca href=\"http://28dayslater.wikia.com/wiki/28_Days_Later_(film)\">28 Days Later\u003c/a>, the book and movie \u003ca href=\"http://www.amazon.com/World-War-Oral-History-Zombie/dp/0307346617\">World War Z\u003c/a> and, of course, the much discussed graphic novel and TV show \u003ca href=\"http://en.wikipedia.org/wiki/The_Walking_Dead_(comic_book)\">The Walking Dead\u003c/a>.\u003c/p>\n\u003cp>So, as I said, what’s the big deal?\u003c/p>\n\u003cp>Because \u003cem>The Last of Us\u003c/em> is a video game, it can do something utterly remarkable that other storytelling forms can’t. The brilliance of this game is the way it takes the tropes of the standard post-apocalypse narrative and both unpacks them in new ways and hijacks them for its own ends.\u003c/p>\n\u003cp>The story \u003cem>The Last of Us\u003c/em> tells is the journey, both real and metaphorical, of Joel and Ellie. Joel is a weary but survival-hardened, 49-year-old, black-market smuggler. We first meet him in our present as the chaos of the infection is just starting. The game begins with his daughter dying in his arms after being shot by a soldier. Ellie is a teenage girl, born after the infection has destroyed society, who ends up placed in Joel’s charge. Her recently discovered immunity to the infection offers a last hope that a vaccine might still be possible. Joel, and his partner-in-crime Tess, are given the task of getting Ellie across the nation’s broken landscape to the last laboratory of the Fireflies, a group that opposes martial law and still believes a cure is possible. After Tess dies at the beginning of their journey to the Firefly lab, the main arc of the narrative begins following Joel as he comes to terms with the presence of this girl, so much like his daughter, in his life.\u003c/p>\n\u003cp>Using that relationship’s evolution to animate the actual cross-country trek from Boston to Salt Lake City allows \u003cem>The Last of Us\u003c/em> to do something with the classic post-apocalyptic narrative that other stories haven’t. While there are lots of battles with zombies and humans alike, it’s the emotional tone of the game that stands out. \u003cem>The Last of Us\u003c/em>, more than anything else, is overwhelmingly sad.\u003c/p>\n\u003cp>Like Cormac McCarthy’s \u003cem>The Road\u003c/em>, which the game is often compared to, the world of \u003cem>The Last of Us\u003c/em> seems irreparably broken. Over and over again, in subtle ways only a game can allow, we are forced to face this fog of grief. A penetrating book or movie would have its own language for revealing that sadness, but what \u003cem>The Last of Us\u003c/em> does is exploit the mechanics of gaming in a way that makes us explore that emotional landscape firsthand.\u003c/p>\n\u003cp>Many games ask you to find and collect stuff as you progress through the story (money, new weapons, etc). But in \u003cem>The Last of Us,\u003c/em> the breakdown of society means \u003cem>you have to\u003c/em> scavenge. But it also means you spend a lot of time moving through empty neighborhoods and empty houses. You wander through bedrooms and living rooms full of the things people left. These familiar yet fallen spaces are rendered with a beauty that becomes transportive. The spare cords of \u003ca href=\"https://www.youtube.com/watch?v=pfA5UqEU_80\">Gustavo Santaolalla’s score\u003c/a> also holds the game’s sober tone (he was composer who did the haunting music for \u003cem>Brokeback Mountain\u003c/em>). Thus along with the usual gameplay (which can be pretty violent and scary), there also comes this remarkable and unexpected meditation on loss at scale we usually can’t touch.\u003c/p>\n\u003cp>But the most stunning feature of this game is its ending. As the game progresses, Ellie becomes a full-fledged partner in the battle for survival (for one whole segment the player controls Ellie after Joel is almost killed). As the story unfolds, Joel slowly seems to find a place for his grief. His bond with Ellie seems to bring a kind of awakening and peace to this man who has done terrible things. Finally finding the Fireflies, it seems that, yes, Ellie does hold the key to a cure. Perhaps there can be redemption for humanity. But, then, we discover that the price for extracting this cure is Ellie’s death.\u003c/p>\n\u003cp>It’s here that the usual tropes \u003cem>should\u003c/em> kick in. At first Joel rejects Ellie’s fate and fights desperately to take her back from the Fireflies. As we navigate through the final battle, we are shown, in various ways, that there is really no choice. The tragedy of Ellie’s death is the only means to save the rest of us. And we also know, having spend so much time with Ellie (I was in the game for 37 hours total) that — more than anyone else — she would have understood and been willing to make the sacrifice. Thus, we expect that ending and we expect Joel to finally understand, too.\u003c/p>\n\u003cp>Instead, the game makes us kill the doctors.\u003c/p>\n\u003cp>In the harrowing crescendo, this character who we thought was a hero, (making us, as players, the heroes, too), turns out to be a monster. The game forces us to become the agent though which Joel violently destroys the only hope left for the world.\u003c/p>\n\u003cp>It’s in this way that \u003cem>The Last of Us\u003c/em> illustrates something truly radical that’s inherent to the technologies of video-game storytelling. The game convinces us that, as players, Joel’s story is our story. Instead, we find that we never really understood this man. We never understood the toll his survival had taken on him. We could not see how deeply his grief had destroyed his humanity.\u003c/p>\n\u003cp>As I played through these last few moments, I was stunned. For all the books and movies and TV shows and plays I have seen, here was a something truly new, truly novel. I was being shown something that only recently became possible.\u003c/p>\n\u003cp>Now, I am not so much of a fan-boy to miss the fact that \u003cem>The Last of Us\u003c/em> still lives in an often male-dominated video game universe — replete with the usual virtual mayhem. And there is enough of this mayhem to keep \u003cem>The Last of Us\u003c/em> from truly being a portal to a bright, new world where everyone games in the same way that everyone watches TV. But, by brilliantly co-opting the new mechanics of video game story telling for its own ends, \u003cem>The Last of Us\u003c/em> does illuminate the contours of what that world may look like.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adam Frank is a co-founder of the 13.7 blog, an astrophysics professor at the University of Rochester, a book author and a self-described “evangelist of science.” You can keep up with more of what Adam is thinking on \u003c/em>\u003ca href=\"https://www.facebook.com/AdamFrankAuthor\">Facebook\u003c/a> and Twitter:\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\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=Why+Video+Games+Matter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "For some people, \"video game\" doesn't conjure up images of anything considered worthwhile. But some games, like \u003cem>The Last of Us,\u003c/em> belong to a time-honored story genre, says commentator Adam Frank.",
"status": "publish",
"parent": 0,
"modified": 1726771432,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1568
},
"headData": {
"title": "Why Video Games Matter | KQED",
"description": "For some people, "video game" doesn't conjure up images of anything considered worthwhile. But some games, like The Last of Us, belong to a time-honored story genre, says commentator Adam Frank.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why Video Games Matter",
"datePublished": "2015-04-29T12:28:31-07:00",
"dateModified": "2024-09-19T11:43:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Adam Frank",
"nprStoryId": "402741863",
"nprApiLink": "http://api.npr.org/query?id=402741863&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/blogs/13.7/2015/04/28/402741863/why-video-games-matter?ft=nprml&f=402741863",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 28 Apr 2015 11:21:00 -0400",
"nprStoryDate": "Tue, 28 Apr 2015 10:22:00 -0400",
"nprLastModifiedDate": "Tue, 28 Apr 2015 11:21:09 -0400",
"path": "/arts/10605593/why-video-games-matter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Human beings are storytellers. This basic, constant instinct is evident throughout history — from creation narratives told around the night’s fire to Greek playwrights to the first novels to the flickering images of early motion pictures.\u003c/p>\n\u003cp>What has changed, though, is \u003cem>how we tell stories\u003c/em>. Each of our technologies, from the printing press to celluloid film, has opened up revolutionary new possibilities that have fundamentally altered the way stories can be told. That revolutionary role of technology is at work again now, and it’s why we should be paying attention to video games.\u003c/p>\n\u003cp>Yes, video games.\u003c/p>\n\u003cp>To convince you of this claim, I would like to present my “Exhibit A” for “Why Video Games Matter”: A truly remarkable piece of work called \u003cem>\u003ca href=\"http://www.telegraph.co.uk/technology/video-games/10091838/The-Last-of-Us-interview-with-Neil-Druckmann-and-Ashley-Johnson.html\">The Last of Us\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>But, let’s get a few things out of the way first. I am relatively new to gaming, having begun just five years ago. That is when I finally relented and bought my then-15-year-old son a PS3. So, if you are a long-time gamer, you will likely find these musings old news. Feel free to complain in the comments.\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 point is that, for many folks, “video game” still doesn’t conjure up anything considered worthwhile. For them, it’s all mindless first-person shooters and endless virtual carnage. So, if you think, “Video games, ugh!,” then I want just a few minutes of your time.\u003c/p>\n\u003cp>One last thing: There are spoilers up ahead. Big ones. I am basically going to tell you how the story of \u003cem>The Last of Us\u003c/em> ends to illustrate why video games can be so revolutionary. If you want to play the game at some point, you might want to stop right here.\u003c/p>\n\u003cp>So, what’s the big deal?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs to a time-honored story genre. It’s a post-apocalypse narrative. The story begins in the present with the outbreak of a pandemic that destroys the minds of the “infected” — turning them into violent zombies. We then jump ahead to 20 years later, after the weight of the pandemic has left the nation in ruins. Just a handful of cities are left maintaining protected quarantine zones. These are run by a military (all that’s left of the government) that has imposed a much-hated martial law.\u003c/p>\n\u003cp>Yes, it sounds familiar — and I am sure you think you’ve seen and heard it all before. After all, when it comes to the zombie apocalypse, there’s the film \u003ca href=\"http://28dayslater.wikia.com/wiki/28_Days_Later_(film)\">28 Days Later\u003c/a>, the book and movie \u003ca href=\"http://www.amazon.com/World-War-Oral-History-Zombie/dp/0307346617\">World War Z\u003c/a> and, of course, the much discussed graphic novel and TV show \u003ca href=\"http://en.wikipedia.org/wiki/The_Walking_Dead_(comic_book)\">The Walking Dead\u003c/a>.\u003c/p>\n\u003cp>So, as I said, what’s the big deal?\u003c/p>\n\u003cp>Because \u003cem>The Last of Us\u003c/em> is a video game, it can do something utterly remarkable that other storytelling forms can’t. The brilliance of this game is the way it takes the tropes of the standard post-apocalypse narrative and both unpacks them in new ways and hijacks them for its own ends.\u003c/p>\n\u003cp>The story \u003cem>The Last of Us\u003c/em> tells is the journey, both real and metaphorical, of Joel and Ellie. Joel is a weary but survival-hardened, 49-year-old, black-market smuggler. We first meet him in our present as the chaos of the infection is just starting. The game begins with his daughter dying in his arms after being shot by a soldier. Ellie is a teenage girl, born after the infection has destroyed society, who ends up placed in Joel’s charge. Her recently discovered immunity to the infection offers a last hope that a vaccine might still be possible. Joel, and his partner-in-crime Tess, are given the task of getting Ellie across the nation’s broken landscape to the last laboratory of the Fireflies, a group that opposes martial law and still believes a cure is possible. After Tess dies at the beginning of their journey to the Firefly lab, the main arc of the narrative begins following Joel as he comes to terms with the presence of this girl, so much like his daughter, in his life.\u003c/p>\n\u003cp>Using that relationship’s evolution to animate the actual cross-country trek from Boston to Salt Lake City allows \u003cem>The Last of Us\u003c/em> to do something with the classic post-apocalyptic narrative that other stories haven’t. While there are lots of battles with zombies and humans alike, it’s the emotional tone of the game that stands out. \u003cem>The Last of Us\u003c/em>, more than anything else, is overwhelmingly sad.\u003c/p>\n\u003cp>Like Cormac McCarthy’s \u003cem>The Road\u003c/em>, which the game is often compared to, the world of \u003cem>The Last of Us\u003c/em> seems irreparably broken. Over and over again, in subtle ways only a game can allow, we are forced to face this fog of grief. A penetrating book or movie would have its own language for revealing that sadness, but what \u003cem>The Last of Us\u003c/em> does is exploit the mechanics of gaming in a way that makes us explore that emotional landscape firsthand.\u003c/p>\n\u003cp>Many games ask you to find and collect stuff as you progress through the story (money, new weapons, etc). But in \u003cem>The Last of Us,\u003c/em> the breakdown of society means \u003cem>you have to\u003c/em> scavenge. But it also means you spend a lot of time moving through empty neighborhoods and empty houses. You wander through bedrooms and living rooms full of the things people left. These familiar yet fallen spaces are rendered with a beauty that becomes transportive. The spare cords of \u003ca href=\"https://www.youtube.com/watch?v=pfA5UqEU_80\">Gustavo Santaolalla’s score\u003c/a> also holds the game’s sober tone (he was composer who did the haunting music for \u003cem>Brokeback Mountain\u003c/em>). Thus along with the usual gameplay (which can be pretty violent and scary), there also comes this remarkable and unexpected meditation on loss at scale we usually can’t touch.\u003c/p>\n\u003cp>But the most stunning feature of this game is its ending. As the game progresses, Ellie becomes a full-fledged partner in the battle for survival (for one whole segment the player controls Ellie after Joel is almost killed). As the story unfolds, Joel slowly seems to find a place for his grief. His bond with Ellie seems to bring a kind of awakening and peace to this man who has done terrible things. Finally finding the Fireflies, it seems that, yes, Ellie does hold the key to a cure. Perhaps there can be redemption for humanity. But, then, we discover that the price for extracting this cure is Ellie’s death.\u003c/p>\n\u003cp>It’s here that the usual tropes \u003cem>should\u003c/em> kick in. At first Joel rejects Ellie’s fate and fights desperately to take her back from the Fireflies. As we navigate through the final battle, we are shown, in various ways, that there is really no choice. The tragedy of Ellie’s death is the only means to save the rest of us. And we also know, having spend so much time with Ellie (I was in the game for 37 hours total) that — more than anyone else — she would have understood and been willing to make the sacrifice. Thus, we expect that ending and we expect Joel to finally understand, too.\u003c/p>\n\u003cp>Instead, the game makes us kill the doctors.\u003c/p>\n\u003cp>In the harrowing crescendo, this character who we thought was a hero, (making us, as players, the heroes, too), turns out to be a monster. The game forces us to become the agent though which Joel violently destroys the only hope left for the world.\u003c/p>\n\u003cp>It’s in this way that \u003cem>The Last of Us\u003c/em> illustrates something truly radical that’s inherent to the technologies of video-game storytelling. The game convinces us that, as players, Joel’s story is our story. Instead, we find that we never really understood this man. We never understood the toll his survival had taken on him. We could not see how deeply his grief had destroyed his humanity.\u003c/p>\n\u003cp>As I played through these last few moments, I was stunned. For all the books and movies and TV shows and plays I have seen, here was a something truly new, truly novel. I was being shown something that only recently became possible.\u003c/p>\n\u003cp>Now, I am not so much of a fan-boy to miss the fact that \u003cem>The Last of Us\u003c/em> still lives in an often male-dominated video game universe — replete with the usual virtual mayhem. And there is enough of this mayhem to keep \u003cem>The Last of Us\u003c/em> from truly being a portal to a bright, new world where everyone games in the same way that everyone watches TV. But, by brilliantly co-opting the new mechanics of video game story telling for its own ends, \u003cem>The Last of Us\u003c/em> does illuminate the contours of what that world may look like.\u003c/p>\n\u003chr>\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>Adam Frank is a co-founder of the 13.7 blog, an astrophysics professor at the University of Rochester, a book author and a self-described “evangelist of science.” You can keep up with more of what Adam is thinking on \u003c/em>\u003ca href=\"https://www.facebook.com/AdamFrankAuthor\">Facebook\u003c/a> and Twitter:\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\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=Why+Video+Games+Matter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10605593/why-video-games-matter",
"authors": [
"byline_arts_10605593"
],
"categories": [
"arts_1"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10605594",
"label": "arts_137"
},
"arts_10599271": {
"type": "posts",
"id": "arts_10599271",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10599271",
"score": null,
"sort": [
1430172891000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1430172891,
"format": "standard",
"title": "Six Novelists Withdraw from Event Honoring 'Charlie Hebdo'",
"headTitle": "Six Novelists Withdraw from Event Honoring ‘Charlie Hebdo’ | KQED",
"content": "\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \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=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 592,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705047214,
"excerpt": "Peter Carey and Rachel Kushner are among those who are withdrawing in protest from the PEN American Center's annual gala. Kushner says she is uncomfortable with \u003cem>Charlie Hebdo'\u003c/em>s \"cultural intolerance.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Peter Carey and Rachel Kushner are among those who are withdrawing in protest from the PEN American Center's annual gala. Kushner says she is uncomfortable with Charlie Hebdo's "cultural intolerance."",
"title": "Six Novelists Withdraw from Event Honoring 'Charlie Hebdo' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Six Novelists Withdraw from Event Honoring 'Charlie Hebdo'",
"datePublished": "2015-04-27T15:14:51-07:00",
"dateModified": "2024-01-12T00:13:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "six-novelists-withdraw-from-event-honoring-charlie-hebdo",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=402541818&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Krishnadev Calamur",
"nprStoryDate": "Mon, 27 Apr 2015 10:00:00 -0400",
"nprLastModifiedDate": "Mon, 27 Apr 2015 15:40:42 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/blogs/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech?ft=nprml&f=402541818",
"nprStoryId": "402541818",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 27 Apr 2015 15:40:00 -0400",
"path": "/arts/10599271/six-novelists-withdraw-from-event-honoring-charlie-hebdo",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\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>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \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=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10599271/six-novelists-withdraw-from-event-honoring-charlie-hebdo",
"authors": [
"byline_arts_10599271"
],
"categories": [
"arts_73",
"arts_235"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10599272",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 2304,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2513,
"relation": "eq"
},
"items": [
"arts_10705325",
"arts_10698900",
"arts_10681817",
"arts_10679651",
"arts_10674882",
"arts_10657581",
"arts_10633589",
"arts_10610373",
"arts_10610365",
"arts_10605891",
"arts_10605593",
"arts_10599271"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_affiliate_npr": {
"isLoading": true
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
