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_13932419": {
"type": "attachments",
"id": "arts_13932419",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13932419",
"found": true
},
"parent": 13932418,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/darkwinds_joe-bernadette_mm_1130_0122_rt_wide-829c7ebf45cd9231b4714df3cda7ca55a470360f-scaled-e1690826358256-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1690825788,
"modified": 1690826453,
"caption": "Zahn McClarnon plays Lt. Joe Leaphorn and Jessica Matten is Sgt. Bernadette Manuelito in Season 2 of ‘Dark Winds.’",
"description": null,
"title": "Zahn McClarnon plays Lt. Joe Leaphorn and Jessica Matten is Sgt. Bernadette Manuelito in Season 2 of ‘Dark Winds.’",
"credit": "Michael Moriatis/ AMC",
"status": "inherit",
"altTag": "Two Indigenous police officers - one male, one female - sit in a car, wearing brown and tan uniforms. The environment outside the car's windows is desert.",
"isLoading": false,
"fetchFailed": false
},
"arts_13932166": {
"type": "attachments",
"id": "arts_13932166",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13932166",
"found": true
},
"parent": 13932164,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963.jpg",
"width": 1920,
"height": 1280
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1414742670-scaled-e1690482232963-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1690482209,
"modified": 1690482433,
"caption": "Mandy Moore has shared that she’s previously received streaming residual checks for as little as 81 cents and a penny.",
"description": null,
"title": "Mandy Moore has shared that she’s previously received streaming residual checks for as little as 81 cents and a penny.",
"credit": "Rodin Eckenroth/WireImage",
"status": "inherit",
"altTag": "A beautiful woman with brown hair pulled back into a neat bun, smiles on the red carpet. She is wearing a high-necked gown.",
"isLoading": false,
"fetchFailed": false
},
"arts_13932009": {
"type": "attachments",
"id": "arts_13932009",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13932009",
"found": true
},
"parent": 13932004,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-25-at-1.34.20-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-25-at-1.34.20-PM-160x101.png",
"width": 160,
"mimeType": "image/png",
"height": 101
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-25-at-1.34.20-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-25-at-1.34.20-PM.png",
"width": 1314,
"height": 832
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-25-at-1.34.20-PM-1020x646.png",
"width": 1020,
"mimeType": "image/png",
"height": 646
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-25-at-1.34.20-PM-800x507.png",
"width": 800,
"mimeType": "image/png",
"height": 507
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-25-at-1.34.20-PM-768x486.png",
"width": 768,
"mimeType": "image/png",
"height": 486
}
},
"publishDate": 1690317301,
"modified": 1690317301,
"caption": null,
"description": null,
"title": "Screen Shot 2023-07-25 at 1.34.20 PM",
"credit": null,
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13931774": {
"type": "attachments",
"id": "arts_13931774",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931774",
"found": true
},
"parent": 13931773,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_108_0293r-copy_custom-8c1bf60dfedadc040e0c8f2e51ffe6f753681f12-scaled-e1689791601845-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1689715053,
"modified": 1689791708,
"caption": "FX's limited series revival ‘Justified: City Primeval’ offers the return of a beloved character — Raylan Givens (Timothy Olyphant). But that alone isn't enough. We take a look back at reboots that worked ... and those that didn't.",
"description": null,
"title": "FX's limited series revival ‘Justified: City Primeval’ offers the return of a beloved character — Raylan Givens (Timothy Olyphant). But that alone isn't enough. We take a look back at reboots that worked ... and those that didn't.",
"credit": "Chuck Hodes/FX",
"status": "inherit",
"altTag": "A white man in a cowboy hat sits behind a desk in a dimly lit, blue-toned room.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931751": {
"type": "attachments",
"id": "arts_13931751",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931751",
"found": true
},
"parent": 13931750,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-scaled.jpg",
"width": 2560,
"height": 1920
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-683450390-fde2c92cbca50af84ca2ace772e7e5fe1e4b68e9-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1689700998,
"modified": 1689701403,
"caption": "Pianist André Watts, age 16, in rehearsal with the New York Philharmonic for one of Leonard Bernstein's Young People's Concerts.",
"description": null,
"title": "Pianist André Watts, age 16, in rehearsal with the New York Philharmonic for one of Leonard Bernstein's Young People's Concerts.",
"credit": "CBS Photo Archive/Getty Images",
"status": "inherit",
"altTag": "A young Black man with short hair in a suit plays the piano",
"isLoading": false,
"fetchFailed": false
},
"arts_13931719": {
"type": "attachments",
"id": "arts_13931719",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931719",
"found": true
},
"parent": 13931718,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-160x150.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 150
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625.jpg",
"width": 1920,
"height": 1800
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-2048x1920.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1920
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1020x956.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 956
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1536x1440.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1440
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-1920x1800.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1800
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-800x750.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 750
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-768x720.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 720
}
},
"publishDate": 1689616900,
"modified": 1689619920,
"caption": "‘Below the Belt’ is a documentary about endometriosis.",
"description": null,
"title": "‘Below the Belt’ is a documentary about endometriosis.",
"credit": "‘Below the Belt’",
"status": "inherit",
"altTag": "The sweat drenched torso of a woman is viewed in close up, with seven lesions visible around the belly button. Each is circled and numbered.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931509": {
"type": "attachments",
"id": "arts_13931509",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931509",
"found": true
},
"parent": 13931505,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-scaled.jpg",
"width": 2560,
"height": 1712
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-2048x1369.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1369
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-1020x682.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 682
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-1536x1027.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1027
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-1920x1284.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1284
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1085767598-768x513.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 513
}
},
"publishDate": 1689127462,
"modified": 1689127569,
"caption": "A woman in Brooklyn smokes crack in 1991.",
"description": null,
"title": "A woman in Brooklyn smokes crack in 1991.",
"credit": "Andrew Lichtenstein/Corbis via Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13931441": {
"type": "attachments",
"id": "arts_13931441",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931441",
"found": true
},
"parent": 13931440,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/cheryl-dunye-1.26.14-fullbleed-photo-by-jamie-hopper-7de6c0fafe02fee18f1926837fc51559999d3e1e-e1689056706762-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1689055445,
"modified": 1689056856,
"caption": "Cheryl Dunye’s 1996 debut, ‘The Watermelon Woman,’ is being added to the Criterion Collection. It's a long overdue honor for the filmmaker who shaped how Black LGBTQ+ stories are told.",
"description": null,
"title": "Cheryl Dunye’s 1996 debut, ‘The Watermelon Woman,’ is being added to the Criterion Collection. It's a long overdue honor for the filmmaker who shaped how Black LGBTQ+ stories are told.",
"credit": "Jamie Hopper",
"status": "inherit",
"altTag": "A Black woman sits against a white wall wearing a white buttoned up shirt, small, round, green eye glasses and a red beanie. She rests one finger under her chin.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931298": {
"type": "attachments",
"id": "arts_13931298",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931298",
"found": true
},
"parent": 13931297,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669.jpg",
"width": 1920,
"height": 1279
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/xp2103_120919_56i4410-2048x2048_custom-377ab20c9c097fbde5f7afdaeedfc15bbf7763fb-e1688753146669-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1688751466,
"modified": 1688753318,
"caption": "In the car racing show ‘Extreme E,’ electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Above, the ‘Extreme E’ drivers pose for a photo on the Russell Glacier in Greenland.",
"description": null,
"title": "In the car racing show ‘Extreme E,’ electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Above, the ‘Extreme E’ drivers pose for a photo on the Russell Glacier in Greenland.",
"credit": "Zak Mauger/Extreme E",
"status": "inherit",
"altTag": "A line of people stand in a V formation atop an icy surface.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931228": {
"type": "attachments",
"id": "arts_13931228",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931228",
"found": true
},
"parent": 13931227,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/joyride-unit-210920-00588rc3-1-_custom-0115a81e0271da2ab318995655dcef7793e984c7-scaled-e1688661511628-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1688660995,
"modified": 1688661647,
"caption": "Sabrina Wu as Deadeye, Ashley Park as Audrey, Sherry Cola as Lolo, and Stephanie Hsu as Kat in Joy Ride. Photo Credit: ",
"description": null,
"title": "Deadeye (Sabrina Wu), left, Audrey (Ashley Park), Lolo (Sherry Cola) and Kat (Stephanie Hsu) in ’Joy Ride.’",
"credit": "Ed Araquel",
"status": "inherit",
"altTag": "A nonbinary Asian person stands in the middle of a battered road alongside three Asian women. All four of them look very worried about what they see ahead of them.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931190": {
"type": "attachments",
"id": "arts_13931190",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931190",
"found": true
},
"parent": 13931189,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934.jpg",
"width": 1920,
"height": 1285
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-2048x1371.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1371
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-1020x683.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 683
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-1536x1028.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1028
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-1920x1285.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1285
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-800x535.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 535
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/gettyimages-1346042126_custom-d594620bf3e7cfac4d55bf8d08888cc5cd7163d1-scaled-e1688422776934-768x514.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 514
}
},
"publishDate": 1688422294,
"modified": 1688422926,
"caption": "Orson Welles in London, May 1973.",
"description": null,
"title": "Orson Welles in London, May 1973.",
"credit": "Len Trievnor/Express/Hulton Archive/Getty Images",
"status": "inherit",
"altTag": "A senior white man of large stature holds a cigar in his mouth and glances off to the side. He is wearing a suit and has a white beard.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931177": {
"type": "attachments",
"id": "arts_13931177",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931177",
"found": true
},
"parent": 13931168,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-03-at-11.49.20-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-03-at-11.49.20-AM-160x88.png",
"width": 160,
"mimeType": "image/png",
"height": 88
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-03-at-11.49.20-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-03-at-11.49.20-AM.png",
"width": 1390,
"height": 768
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-03-at-11.49.20-AM-1020x564.png",
"width": 1020,
"mimeType": "image/png",
"height": 564
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-03-at-11.49.20-AM-800x442.png",
"width": 800,
"mimeType": "image/png",
"height": 442
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-03-at-11.49.20-AM-768x424.png",
"width": 768,
"mimeType": "image/png",
"height": 424
}
},
"publishDate": 1688410186,
"modified": 1688410307,
"caption": "Mahsa Amini peers out from a mural by Rodrigo Pradel that covers an entire building side in a Washington, D.C. alley. Amini's death in police custody in Iran last year led to protests and a revolutionary movement.",
"description": null,
"title": "Screen Shot 2023-07-03 at 11.49.20 AM",
"credit": "Rodrigo Pradel",
"status": "inherit",
"altTag": "Mahsa Amini peers out from a mural by Rodrigo Pradel that covers an entire building side in a Washington, D.C. alley. Amini's death in police custody in Iran last year led to protests and a revolutionary movement.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13932418": {
"type": "authors",
"id": "byline_arts_13932418",
"meta": {
"override": true
},
"slug": "byline_arts_13932418",
"name": "John Powers",
"isLoading": false
},
"byline_arts_13932164": {
"type": "authors",
"id": "byline_arts_13932164",
"meta": {
"override": true
},
"slug": "byline_arts_13932164",
"name": "Ayana Archie",
"isLoading": false
},
"byline_arts_13932004": {
"type": "authors",
"id": "byline_arts_13932004",
"meta": {
"override": true
},
"slug": "byline_arts_13932004",
"name": "Jason Heller",
"isLoading": false
},
"byline_arts_13931773": {
"type": "authors",
"id": "byline_arts_13931773",
"meta": {
"override": true
},
"slug": "byline_arts_13931773",
"name": "Eric Deggans",
"isLoading": false
},
"byline_arts_13931750": {
"type": "authors",
"id": "byline_arts_13931750",
"meta": {
"override": true
},
"slug": "byline_arts_13931750",
"name": "Lara Downes",
"isLoading": false
},
"byline_arts_13931718": {
"type": "authors",
"id": "byline_arts_13931718",
"meta": {
"override": true
},
"slug": "byline_arts_13931718",
"name": "Andrea Muraskin",
"isLoading": false
},
"byline_arts_13931505": {
"type": "authors",
"id": "byline_arts_13931505",
"meta": {
"override": true
},
"slug": "byline_arts_13931505",
"name": "Ilana Masad",
"isLoading": false
},
"byline_arts_13931440": {
"type": "authors",
"id": "byline_arts_13931440",
"meta": {
"override": true
},
"slug": "byline_arts_13931440",
"name": "Allyson McCabe",
"isLoading": false
},
"byline_arts_13931297": {
"type": "authors",
"id": "byline_arts_13931297",
"meta": {
"override": true
},
"slug": "byline_arts_13931297",
"name": "Chloe Veltman",
"isLoading": false
},
"byline_arts_13931227": {
"type": "authors",
"id": "byline_arts_13931227",
"meta": {
"override": true
},
"slug": "byline_arts_13931227",
"name": "Justin Chang",
"isLoading": false
},
"byline_arts_13931189": {
"type": "authors",
"id": "byline_arts_13931189",
"meta": {
"override": true
},
"slug": "byline_arts_13931189",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13931168": {
"type": "authors",
"id": "byline_arts_13931168",
"meta": {
"override": true
},
"slug": "byline_arts_13931168",
"name": "Majd Al-Waheidi",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262192
},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"title": "NPR",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 39
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 39
}
},
{
"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_13932418": {
"type": "posts",
"id": "arts_13932418",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13932418",
"score": null,
"sort": [
1690826935000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1690826935,
"format": "standard",
"title": "Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture",
"headTitle": "Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture | KQED",
"content": "\u003cp>In 1970, a journalist named Tony Hillerman launched a series of crime novels featuring two Navajo cops who work for the tribal police on a reservation in New Mexico. The books sold well, earned great reviews, won prizes and led to Hillerman being honored in 1991 by the Navajo tribal council.\u003c/p>\n\u003cp>But our cultural standards have changed profoundly, and one wonders whether these mysteries would even be published now, let alone receive so much acclaim. After all, Hillerman was a white outsider whose books today would likely face charges of cultural appropriation.\u003c/p>\n\u003cp>[aside postid='arts_13932077']Yet as it stands, the Joe Leaphorn and Jim Chee novels, as they’re known, are very enjoyable books, as well as valuable intellectual property. So you get why they’re being turned into the TV series \u003cem>Dark Winds,\u003c/em> whose second season can be seen on AMC and AMC+.\u003c/p>\n\u003cp>Produced by \u003ca href=\"https://www.kqed.org/forum/904301000/robert-redford\">Robert Redford\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max\">George R.R. Martin\u003c/a> among others, \u003cem>Dark Winds\u003c/em> retools and modernizes Hillerman’s conception. Set amidst the fiercely beautiful New Mexico landscape of the early 1970s, this entertaining series stars, is written by, and is largely directed by Native Americans. They have enlarged the women’s roles and treat Navajo culture not as sociology but as lived experience.\u003c/p>\n\u003cp>The terrific Zahn McClarnon stars as the honorably intense Lt. Joe Leaphorn, who — along with his nurse wife, Emma, played by Deanna Allison — is still reeling from the death of their son in an explosion. As coiled as a rattler, albeit a righteous one, Joe spends most of his time with two younger investigators. There’s officer Bernadette Manuelito, known as Bern (Jessica Matten), who fears her future is limited in the hardscrabble Navajo world. And there’s Jim Chee (Kiowa Gordon), who worked for the FBI in Season 1 but, feeling used by them, has become a private eye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new season begins with a fatal bombing outside a medical center that injures Emma. Joe suspects the bomber might be the guy who killed his son, and with Bern at his side, begins a relentless pursuit of the killer. Meanwhile Jim is being hired by a slippery blonde, played by Jeri Ryan, to find a box of personal effects that was stolen from her home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2dGW5q-5Cfg\u003c/p>\n\u003cp>Naturally, these investigations overlap, and soon the three are dealing with a uranium tycoon, assorted dead bodies, mountainside shootouts and life and death treks through the desert, not to mention a religious cult known, ominously enough, as People of Darkness.\u003c/p>\n\u003cp>In adapting Hillerman’s work, the show’s creators keep the bones of his ’70s material, but they also want to go beyond doing just another police drama and capture truths about Navajo life. These aims don’t fully mesh. A tad old-fashioned, the series lacks the contemporary snap of \u003ca href=\"https://www.npr.org/2022/09/19/1123452609/reservation-dogs-sterlin-harjo-native-stories\">\u003cem>Reservation Dogs\u003c/em>\u003c/a>\u003cem>, \u003c/em>a better and more freewheeling show about Native Americans that owes nothing to 50-year-old mystery novels. In that series, whose third season begins next week, McClarnon shines as an amiably superstitious cop who’s vastly more relaxed — and arguably more modern — than staid Joe Leaphorn.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 805,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705005215,
"excerpt": "Set in New Mexico in the 1970s, ‘Dark Winds’ stars, is written by, and is largely directed by Native Americans.",
"headData": {
"twImgId": "",
"twTitle": "Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture",
"socialTitle": "‘Dark Winds’ on AMC Updates Tony Hillerman Book Series %%page%% %%sep%% KQED",
"ogTitle": "Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture",
"ogImgId": "",
"twDescription": "",
"description": "Set in New Mexico in the 1970s, ‘Dark Winds’ stars, is written by, and is largely directed by Native Americans.",
"title": "‘Dark Winds’ on AMC Updates Tony Hillerman Book Series | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Back for Season 2, ‘Dark Winds’ is a Cop Drama Steeped in Navajo Culture",
"datePublished": "2023-07-31T11:08:55-07:00",
"dateModified": "2024-01-11T12:33:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "back-for-season-2-dark-winds-is-a-cop-drama-steeped-in-navajo-culture",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1190198520&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 27 Jul 2023 05:01:03 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 27 Jul 2023 05:01:03 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/27/1190198520/dark-winds-review-season-2-tony-hillerman?ft=nprml&f=1190198520",
"nprAudio": "https://play.podtrac.com/npr-191676894/edge1.pod.npr.org/anon.npr-mp3/npr/fa/2023/07/20230727_fa_d17d3b66-8fb9-47d2-a447-3ddd887d4390.mp3?orgId=427869011&topicId=1163&d=417&p=13&story=1190198520&awCollectionId=1190226679&awEpisodeId=1190198520&ft=nprml&f=1190198520",
"nprImageAgency": "AMC",
"nprAudioM3u": "http://api.npr.org/m3u/11190537002-1c6f84.m3u?orgId=427869011&topicId=1163&d=417&p=13&story=1190198520&ft=nprml&f=1190198520",
"nprStoryId": "1190198520",
"nprByline": "John Powers",
"sticky": false,
"nprImageCredit": "Michael Moriatis",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 27 Jul 2023 14:01:00 -0400",
"path": "/arts/13932418/back-for-season-2-dark-winds-is-a-cop-drama-steeped-in-navajo-culture",
"audioUrl": "https://play.podtrac.com/npr-191676894/edge1.pod.npr.org/anon.npr-mp3/npr/fa/2023/07/20230727_fa_d17d3b66-8fb9-47d2-a447-3ddd887d4390.mp3?orgId=427869011&topicId=1163&d=417&p=13&story=1190198520&awCollectionId=1190226679&awEpisodeId=1190198520&ft=nprml&f=1190198520",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1970, a journalist named Tony Hillerman launched a series of crime novels featuring two Navajo cops who work for the tribal police on a reservation in New Mexico. The books sold well, earned great reviews, won prizes and led to Hillerman being honored in 1991 by the Navajo tribal council.\u003c/p>\n\u003cp>But our cultural standards have changed profoundly, and one wonders whether these mysteries would even be published now, let alone receive so much acclaim. After all, Hillerman was a white outsider whose books today would likely face charges of cultural appropriation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13932077",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Yet as it stands, the Joe Leaphorn and Jim Chee novels, as they’re known, are very enjoyable books, as well as valuable intellectual property. So you get why they’re being turned into the TV series \u003cem>Dark Winds,\u003c/em> whose second season can be seen on AMC and AMC+.\u003c/p>\n\u003cp>Produced by \u003ca href=\"https://www.kqed.org/forum/904301000/robert-redford\">Robert Redford\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max\">George R.R. Martin\u003c/a> among others, \u003cem>Dark Winds\u003c/em> retools and modernizes Hillerman’s conception. Set amidst the fiercely beautiful New Mexico landscape of the early 1970s, this entertaining series stars, is written by, and is largely directed by Native Americans. They have enlarged the women’s roles and treat Navajo culture not as sociology but as lived experience.\u003c/p>\n\u003cp>The terrific Zahn McClarnon stars as the honorably intense Lt. Joe Leaphorn, who — along with his nurse wife, Emma, played by Deanna Allison — is still reeling from the death of their son in an explosion. As coiled as a rattler, albeit a righteous one, Joe spends most of his time with two younger investigators. There’s officer Bernadette Manuelito, known as Bern (Jessica Matten), who fears her future is limited in the hardscrabble Navajo world. And there’s Jim Chee (Kiowa Gordon), who worked for the FBI in Season 1 but, feeling used by them, has become a private eye.\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 new season begins with a fatal bombing outside a medical center that injures Emma. Joe suspects the bomber might be the guy who killed his son, and with Bern at his side, begins a relentless pursuit of the killer. Meanwhile Jim is being hired by a slippery blonde, played by Jeri Ryan, to find a box of personal effects that was stolen from her home.\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/2dGW5q-5Cfg'\n title='//www.youtube.com/embed/2dGW5q-5Cfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Naturally, these investigations overlap, and soon the three are dealing with a uranium tycoon, assorted dead bodies, mountainside shootouts and life and death treks through the desert, not to mention a religious cult known, ominously enough, as People of Darkness.\u003c/p>\n\u003cp>In adapting Hillerman’s work, the show’s creators keep the bones of his ’70s material, but they also want to go beyond doing just another police drama and capture truths about Navajo life. These aims don’t fully mesh. A tad old-fashioned, the series lacks the contemporary snap of \u003ca href=\"https://www.npr.org/2022/09/19/1123452609/reservation-dogs-sterlin-harjo-native-stories\">\u003cem>Reservation Dogs\u003c/em>\u003c/a>\u003cem>, \u003c/em>a better and more freewheeling show about Native Americans that owes nothing to 50-year-old mystery novels. In that series, whose third season begins next week, McClarnon shines as an amiably superstitious cop who’s vastly more relaxed — and arguably more modern — than staid Joe Leaphorn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931888",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13932418/back-for-season-2-dark-winds-is-a-cop-drama-steeped-in-navajo-culture",
"authors": [
"byline_arts_13932418"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_75",
"arts_990"
],
"tags": [
"arts_977",
"arts_1945",
"arts_3178",
"arts_11420",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13932419",
"label": "arts_140"
},
"arts_13932164": {
"type": "posts",
"id": "arts_13932164",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13932164",
"score": null,
"sort": [
1690483080000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1690483080,
"format": "standard",
"title": "Striking Actors Take to the Internet to Show Off Their Paltry Residual Checks",
"headTitle": "Striking Actors Take to the Internet to Show Off Their Paltry Residual Checks | KQED",
"content": "\u003cp>One of the demands that actors and screenwriters are making in trying to renegotiate their contracts with Hollywood studios is greater residual payments, and several people in the entertainment industry have come forward to share what those residual checks look like.\u003c/p>\n\u003cp>Mandy Moore, who starred as matriarch Rebecca Pearson in NBC’s \u003cem>This Is Us\u003c/em>, said she received streaming residual checks for a penny once and 81 cents another time.\u003c/p>\n\u003cp>“So you have to, like, let them add up for a while before you go deposit them at the bank,” she said in an interview while on the picket line.\u003c/p>\n\u003cp>Residuals are payments made over the long term to actors and other theatrical workers when a TV show or movie is rerun or aired after its original release.\u003c/p>\n\u003cp>Kamil McFadden, who starred on three seasons of Disney’s \u003cem>K.C. Undercover\u003c/em>, tweeted a screen recording of his residuals, several of which had negative dollar amounts. He said his net income from the list was $2.77.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Kamil_McFadden/status/1679546658219245569\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/Cu90ofIALBP/\">Instagram video\u003c/a>, William Stanford Davis, who plays Mr. Johnson on the ABC sitcom \u003cem>Abbott Elementary\u003c/em>, showed a residual check for 5 cents.\u003c/p>\n\u003cp>“That’s what they think of us as actors,” he said. “This is why we’re on strike.”\u003c/p>\n\u003cp>Jana Schmieding, who played Bev on FX’s \u003cem>Reservation Dogs\u003c/em>, said she gets a 3-cent residual every quarter for the show being streamed on Hulu.\u003c/p>\n\u003cp>https://twitter.com/janaunplgd/status/1680733201726320642\u003c/p>\n\u003cp>“Listen, I’m an actor. I don’t want a yacht. But I’d love to be able to save for retirement,” she tweeted.\u003c/p>\n\u003cp>The Writers Guild of America is currently on the 13th week of its strike, while actors with the union SAG-AFTRA are on their second week. Both are striking against the Alliance of Motion Picture and Television Producers (AMPTP). (Note: Many NPR employees are members of SAG-AFTRA, though journalists work under a different contract than the Hollywood actors.)\u003c/p>\n\u003cp>[aside postid='arts_13928702']Writers and actors are demanding better wages, fair use of artificial intelligence and better contributions to health care and retirement.\u003c/p>\n\u003cp>The AMPTP did not immediately respond to a request for comment, but in a document titled “\u003ca href=\"https://press.amptp.org/sites/labor.amptp.org/files/AMPTP_SAG-AFTRA%20Chart.pdf\">What SAG-AFTRA Failed to Mention\u003c/a>,” issued last week, it said that in its negotiations with SAG-AFTRA, it offered a more than $1 billion increase in wages, residuals and pension and health care contributions over a three-year period.\u003c/p>\n\u003cp>In the document, the AMPTP says it offered a 22% increase in residuals for high-budget SVOD (subscription video on demand) programs from Hulu, Disney+, Netflix and Amazon Prime. It said it also presented a 76% increase in foreign residuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA also asked\u003c/a> for revenue sharing, which means actors would get a fixed residual and also a separate residual tied to the amount of money a show brought in once it hit streaming platforms.\u003c/p>\n\u003cp>[aside postid='arts_13931850']The AMPTP rejected that proposal and asked SAG-AFTRA to remove it from negotiations, calling it “completely illogical,” as the companies that produce a program are not entitled to any revenue from streaming and receive only a licensing fee, it said.\u003c/p>\n\u003cp>“The Union is proposing that performers share in the rewards of a successful show, without bearing any of the risk … The Union proposes to ‘share’ in success, but not in failure,” it said. “That is not sharing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA said\u003c/a> it additionally asked for an 11% increase in general wages in the first year of the new contract and a 4% increase in each of the second and third years but was met with a proposal of 5% in the first year, 4% in the second year and 3.5% in the third.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actors+take+to+the+internet+to+show+their+residual+checks%2C+with+some+in+the+negative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 657,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705005226,
"excerpt": "Striking actors are asking for a separate type of residual payment once their programs hit streaming services.",
"headData": {
"twImgId": "",
"twTitle": "Striking Actors Take to the Internet to Show Off Their Paltry Residual Checks",
"socialTitle": "Hollywood Strike: Actors Share Paltry Residual Checks %%page%% %%sep%% KQED",
"ogTitle": "Striking Actors Take to the Internet to Show Off Their Paltry Residual Checks",
"ogImgId": "",
"twDescription": "",
"description": "Striking actors are asking for a separate type of residual payment once their programs hit streaming services.",
"title": "Hollywood Strike: Actors Share Paltry Residual Checks | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Striking Actors Take to the Internet to Show Off Their Paltry Residual Checks",
"datePublished": "2023-07-27T11:38:00-07:00",
"dateModified": "2024-01-11T12:33:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "striking-actors-take-to-the-internet-to-show-off-their-paltry-residual-checks",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1190336979&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 27 Jul 2023 05:00:02 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 27 Jul 2023 05:00:02 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/27/1190336979/actors-strike-residuals-sag-aftra-wga?ft=nprml&f=1190336979",
"nprStoryId": "1190336979",
"nprByline": "Ayana Archie",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 27 Jul 2023 05:00:00 -0400",
"path": "/arts/13932164/striking-actors-take-to-the-internet-to-show-off-their-paltry-residual-checks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the demands that actors and screenwriters are making in trying to renegotiate their contracts with Hollywood studios is greater residual payments, and several people in the entertainment industry have come forward to share what those residual checks look like.\u003c/p>\n\u003cp>Mandy Moore, who starred as matriarch Rebecca Pearson in NBC’s \u003cem>This Is Us\u003c/em>, said she received streaming residual checks for a penny once and 81 cents another time.\u003c/p>\n\u003cp>“So you have to, like, let them add up for a while before you go deposit them at the bank,” she said in an interview while on the picket line.\u003c/p>\n\u003cp>Residuals are payments made over the long term to actors and other theatrical workers when a TV show or movie is rerun or aired after its original release.\u003c/p>\n\u003cp>Kamil McFadden, who starred on three seasons of Disney’s \u003cem>K.C. Undercover\u003c/em>, tweeted a screen recording of his residuals, several of which had negative dollar amounts. He said his net income from the list was $2.77.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1679546658219245569"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/Cu90ofIALBP/\">Instagram video\u003c/a>, William Stanford Davis, who plays Mr. Johnson on the ABC sitcom \u003cem>Abbott Elementary\u003c/em>, showed a residual check for 5 cents.\u003c/p>\n\u003cp>“That’s what they think of us as actors,” he said. “This is why we’re on strike.”\u003c/p>\n\u003cp>Jana Schmieding, who played Bev on FX’s \u003cem>Reservation Dogs\u003c/em>, said she gets a 3-cent residual every quarter for the show being streamed on Hulu.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1680733201726320642"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Listen, I’m an actor. I don’t want a yacht. But I’d love to be able to save for retirement,” she tweeted.\u003c/p>\n\u003cp>The Writers Guild of America is currently on the 13th week of its strike, while actors with the union SAG-AFTRA are on their second week. Both are striking against the Alliance of Motion Picture and Television Producers (AMPTP). (Note: Many NPR employees are members of SAG-AFTRA, though journalists work under a different contract than the Hollywood actors.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928702",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Writers and actors are demanding better wages, fair use of artificial intelligence and better contributions to health care and retirement.\u003c/p>\n\u003cp>The AMPTP did not immediately respond to a request for comment, but in a document titled “\u003ca href=\"https://press.amptp.org/sites/labor.amptp.org/files/AMPTP_SAG-AFTRA%20Chart.pdf\">What SAG-AFTRA Failed to Mention\u003c/a>,” issued last week, it said that in its negotiations with SAG-AFTRA, it offered a more than $1 billion increase in wages, residuals and pension and health care contributions over a three-year period.\u003c/p>\n\u003cp>In the document, the AMPTP says it offered a 22% increase in residuals for high-budget SVOD (subscription video on demand) programs from Hulu, Disney+, Netflix and Amazon Prime. It said it also presented a 76% increase in foreign residuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA also asked\u003c/a> for revenue sharing, which means actors would get a fixed residual and also a separate residual tied to the amount of money a show brought in once it hit streaming platforms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931850",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The AMPTP rejected that proposal and asked SAG-AFTRA to remove it from negotiations, calling it “completely illogical,” as the companies that produce a program are not entitled to any revenue from streaming and receive only a licensing fee, it said.\u003c/p>\n\u003cp>“The Union is proposing that performers share in the rewards of a successful show, without bearing any of the risk … The Union proposes to ‘share’ in success, but not in failure,” it said. “That is not sharing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA said\u003c/a> it additionally asked for an 11% increase in general wages in the first year of the new contract and a 4% increase in each of the second and third years but was met with a proposal of 5% in the first year, 4% in the second year and 3.5% in the third.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actors+take+to+the+internet+to+show+their+residual+checks%2C+with+some+in+the+negative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13932164/striking-actors-take-to-the-internet-to-show-off-their-paltry-residual-checks",
"authors": [
"byline_arts_13932164"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_990"
],
"tags": [
"arts_8393",
"arts_20439",
"arts_16649",
"arts_1935",
"arts_21264",
"arts_20434"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13932166",
"label": "arts_137"
},
"arts_13932004": {
"type": "posts",
"id": "arts_13932004",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13932004",
"score": null,
"sort": [
1690317707000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1690317707,
"format": "aside",
"title": "In ‘Someone Who Isn’t Me,’ Geoff Rickly Recounts the Struggles of Some Other Singer",
"headTitle": "In ‘Someone Who Isn’t Me,’ Geoff Rickly Recounts the Struggles of Some Other Singer | KQED",
"content": "\u003cfigure id=\"attachment_13932005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-800x1240.jpe\" alt=\"On the front of a book, segmented black and white images of faces overlapping.\" width=\"800\" height=\"1240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-800x1240.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-1020x1581.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-160x248.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-768x1191.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-991x1536.jpe 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-1321x2048.jpe 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748.jpe 1645w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Someone Who Isn’t Me’ by Geoff Rickly. \u003ccite>(Rose Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While grappling with the massive ambition of \u003cem>Someone Who Isn’t Me\u003c/em>, the debut novel by Geoff Rickly, it’s helpful to look back at the debut album by Rickly’s legendary \u003ca href=\"https://www.npr.org/sections/therecord/2013/11/18/245954581/a-rational-conversation-is-emo-back\">emo\u003c/a>/post-hardcore band, Thursday. That album, \u003cem>Waiting\u003c/em>, came out in 1999, when Rickly was just 20 years old. His inexperience showed: Although \u003cem>Waiting \u003c/em>is an electrifying record, it’s overly beholden to its obvious influences (mainly Fugazi and Sunny Day Real Estate, two of the most popular bands of those genres). \u003cem>Waiting \u003c/em>also fails to fully showcase the staggering potential of Rickly as both a vocalist and a lyricist. It wasn’t until Thursday’s second album in 2001, \u003cem>Full Collapse\u003c/em>, when it all came together. It’s rightly considered a classic of its era, and it crystallized Rickly as — no hyperbole, just fact — one of the most poetic, impactful and inspirational voices of his generation.\u003c/p>\n\u003cp>[aside postid='arts_13931389']Does that mean \u003cem>Someone Who Isn’t Me\u003c/em> is the literary equivalent of \u003cem>Waiting\u003c/em>, a debut work that shows more promise than power? Not exactly. After all, Rickly is now in his 40s. Between Thursday and all the other bands he’s fronted over the past quarter-decade, he’s written the equivalent of many books, only in song form. Of course, a novel is very different from an album, and many musicians have dashed themselves against the rocks in an attempt to transfer their lyrical ability to prose. As it turns out, Rickly is solidly in the camp of successful songwriters-turned-authors such as John Darnielle and Nick Cave. When it comes to making the shift to the written word, he’s a natural, albeit a germinal one.\u003c/p>\n\u003cp>\u003cem>Someone Who Isn’t Me\u003c/em> is a semifictional account of Rickly’s own ups and downs as a tormented creative, a sensual being, and a heroin addict. If that sounds less than original, that’s because writers such as William Burroughs and Jim Carroll perfected this type of book decades ago. (It takes all of three pages into \u003cem>Someone \u003c/em>before Rickly actually name checks Burroughs.) That doesn’t, however, make Rickly’s addition to the canon any less vital. A saga of innerspace, the story pingpongs across years and coasts as Rickly alternately tiptoes and bulldozes through band tours, romantic relationships, and a chronicle of his real-life drug battles. He uses his own name for his protagonist, but he’s wise to detach much of his narrative from hard reality. Elevating his story above the bounds of believability, he injects speculative elements such as the imagined, psychedelic, anti-heroin drug called ibogaine, which evokes science-fictional pharmaceuticals of literature past like Kurt Vonnegut’s anti-gerasone and Philip K. Dick’s silenizine.\u003c/p>\n\u003cp>Again, there’s nothing really new here, except for Rickly’s singular language and force. His lyrics and vocals have always experimented with form, texture, emotion, and modes of address, so it’s no surprise that \u003cem>Someone \u003c/em>does the same. Passages of cut-glass sharpness dissolve into flow-state streams of consciousness. He navigates “whole city blocks compressing in accordion bellows”; he recounts how he “started a band and screamed into rusty microphones, jumping around the stage until my shoes filled with blood.” Hallucinatory prose is rarely this vivid — nor does it usually bristle with the visceral punk energy that Rickly has honed throughout his career as an explosive onstage presence.\u003c/p>\n\u003cp>[aside postid='arts_13931586']Rickly does not skimp. He writes each sentence as if it might be the last he’ll ever get to pen. It’s the same punch of urgency that propels every line of his lyrics in Thursday. Most often that urgency works to his advantage; occasionally it hamstrings him. He doesn’t write as if his life depends on it — he writes as if his minutes are numbered and nothing can save him from death. His passages of run-on automatic writing almost always overstay their welcome, and at times so do his labored metaphors. But these are cosmetic issues; even at its most awkwardly inward, the book barrels along at the velocity of, well, a really great Thursday song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At one point in the story, a medic at a music festival rushes onto the stage after a catharsis-chasing, self-destructive Rickly accidentally cracks his nose open with his microphone. “I’m not a doctor so I wouldn’t want to rush a diagnosis,” the medic tells Rickly’s bandmates. “But I’d say he almost certainly shows signs of being a lead singer. It’s a real shame, but there’s nothing else I can do for him.” Yes, there’s also dark humor in \u003cem>Someone Who Isn’t Me\u003c/em>, and it’s one of the many dimensions that helps push the novel in a daringly different direction from so many of its influences. Taken alone, Rickly’s book is a solid and promising literary debut. Placed in the context of his entire body of creative work, \u003cem>Someone Who Isn’t Me \u003c/em>is likely to be the raw, opening salvo of an impressive new career.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Someone+Who+Isn%27t+Me%2C%27+Geoff+Rickly+recounts+the+struggles+of+some+other+singer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 918,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705005241,
"excerpt": "The Thursday and No Devotion frontman releases a daring and promising literary debut.",
"headData": {
"twImgId": "",
"twTitle": "In ‘Someone Who Isn’t Me,’ Geoff Rickly Recounts the Struggles of Some Other Singer",
"socialTitle": "Thursday's Geoff Rickly Releases Urgent Debut Novel %%page%% %%sep%% KQED",
"ogTitle": "In ‘Someone Who Isn’t Me,’ Geoff Rickly Recounts the Struggles of Some Other Singer",
"ogImgId": "",
"twDescription": "",
"description": "The Thursday and No Devotion frontman releases a daring and promising literary debut.",
"title": "Thursday's Geoff Rickly Releases Urgent Debut Novel | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In ‘Someone Who Isn’t Me,’ Geoff Rickly Recounts the Struggles of Some Other Singer",
"datePublished": "2023-07-25T13:41:47-07:00",
"dateModified": "2024-01-11T12:34:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-someone-who-isnt-me-geoff-rickly-recounts-the-struggles-of-some-other-singer",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1189278437&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 25 Jul 2023 05:00:38 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 25 Jul 2023 13:02:34 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/25/1189278437/someone-who-isnt-me-review-geoff-rickly?ft=nprml&f=1189278437",
"nprImageAgency": "Rose Books",
"nprStoryId": "1189278437",
"nprByline": "Jason Heller",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 25 Jul 2023 13:02:00 -0400",
"path": "/arts/13932004/in-someone-who-isnt-me-geoff-rickly-recounts-the-struggles-of-some-other-singer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13932005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-800x1240.jpe\" alt=\"On the front of a book, segmented black and white images of faces overlapping.\" width=\"800\" height=\"1240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-800x1240.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-1020x1581.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-160x248.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-768x1191.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-991x1536.jpe 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748-1321x2048.jpe 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rickly-cover_custom-79e4308fbfb7293e55cd179a5505ba0950a33748.jpe 1645w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Someone Who Isn’t Me’ by Geoff Rickly. \u003ccite>(Rose Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While grappling with the massive ambition of \u003cem>Someone Who Isn’t Me\u003c/em>, the debut novel by Geoff Rickly, it’s helpful to look back at the debut album by Rickly’s legendary \u003ca href=\"https://www.npr.org/sections/therecord/2013/11/18/245954581/a-rational-conversation-is-emo-back\">emo\u003c/a>/post-hardcore band, Thursday. That album, \u003cem>Waiting\u003c/em>, came out in 1999, when Rickly was just 20 years old. His inexperience showed: Although \u003cem>Waiting \u003c/em>is an electrifying record, it’s overly beholden to its obvious influences (mainly Fugazi and Sunny Day Real Estate, two of the most popular bands of those genres). \u003cem>Waiting \u003c/em>also fails to fully showcase the staggering potential of Rickly as both a vocalist and a lyricist. It wasn’t until Thursday’s second album in 2001, \u003cem>Full Collapse\u003c/em>, when it all came together. It’s rightly considered a classic of its era, and it crystallized Rickly as — no hyperbole, just fact — one of the most poetic, impactful and inspirational voices of his generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931389",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Does that mean \u003cem>Someone Who Isn’t Me\u003c/em> is the literary equivalent of \u003cem>Waiting\u003c/em>, a debut work that shows more promise than power? Not exactly. After all, Rickly is now in his 40s. Between Thursday and all the other bands he’s fronted over the past quarter-decade, he’s written the equivalent of many books, only in song form. Of course, a novel is very different from an album, and many musicians have dashed themselves against the rocks in an attempt to transfer their lyrical ability to prose. As it turns out, Rickly is solidly in the camp of successful songwriters-turned-authors such as John Darnielle and Nick Cave. When it comes to making the shift to the written word, he’s a natural, albeit a germinal one.\u003c/p>\n\u003cp>\u003cem>Someone Who Isn’t Me\u003c/em> is a semifictional account of Rickly’s own ups and downs as a tormented creative, a sensual being, and a heroin addict. If that sounds less than original, that’s because writers such as William Burroughs and Jim Carroll perfected this type of book decades ago. (It takes all of three pages into \u003cem>Someone \u003c/em>before Rickly actually name checks Burroughs.) That doesn’t, however, make Rickly’s addition to the canon any less vital. A saga of innerspace, the story pingpongs across years and coasts as Rickly alternately tiptoes and bulldozes through band tours, romantic relationships, and a chronicle of his real-life drug battles. He uses his own name for his protagonist, but he’s wise to detach much of his narrative from hard reality. Elevating his story above the bounds of believability, he injects speculative elements such as the imagined, psychedelic, anti-heroin drug called ibogaine, which evokes science-fictional pharmaceuticals of literature past like Kurt Vonnegut’s anti-gerasone and Philip K. Dick’s silenizine.\u003c/p>\n\u003cp>Again, there’s nothing really new here, except for Rickly’s singular language and force. His lyrics and vocals have always experimented with form, texture, emotion, and modes of address, so it’s no surprise that \u003cem>Someone \u003c/em>does the same. Passages of cut-glass sharpness dissolve into flow-state streams of consciousness. He navigates “whole city blocks compressing in accordion bellows”; he recounts how he “started a band and screamed into rusty microphones, jumping around the stage until my shoes filled with blood.” Hallucinatory prose is rarely this vivid — nor does it usually bristle with the visceral punk energy that Rickly has honed throughout his career as an explosive onstage presence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931586",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Rickly does not skimp. He writes each sentence as if it might be the last he’ll ever get to pen. It’s the same punch of urgency that propels every line of his lyrics in Thursday. Most often that urgency works to his advantage; occasionally it hamstrings him. He doesn’t write as if his life depends on it — he writes as if his minutes are numbered and nothing can save him from death. His passages of run-on automatic writing almost always overstay their welcome, and at times so do his labored metaphors. But these are cosmetic issues; even at its most awkwardly inward, the book barrels along at the velocity of, well, a really great Thursday song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At one point in the story, a medic at a music festival rushes onto the stage after a catharsis-chasing, self-destructive Rickly accidentally cracks his nose open with his microphone. “I’m not a doctor so I wouldn’t want to rush a diagnosis,” the medic tells Rickly’s bandmates. “But I’d say he almost certainly shows signs of being a lead singer. It’s a real shame, but there’s nothing else I can do for him.” Yes, there’s also dark humor in \u003cem>Someone Who Isn’t Me\u003c/em>, and it’s one of the many dimensions that helps push the novel in a daringly different direction from so many of its influences. Taken alone, Rickly’s book is a solid and promising literary debut. Placed in the context of his entire body of creative work, \u003cem>Someone Who Isn’t Me \u003c/em>is likely to be the raw, opening salvo of an impressive new career.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Someone+Who+Isn%27t+Me%2C%27+Geoff+Rickly+recounts+the+struggles+of+some+other+singer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13932004/in-someone-who-isnt-me-geoff-rickly-recounts-the-struggles-of-some-other-singer",
"authors": [
"byline_arts_13932004"
],
"categories": [
"arts_1",
"arts_73",
"arts_69"
],
"tags": [
"arts_15961",
"arts_5221"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13932009",
"label": "arts_137"
},
"arts_13931773": {
"type": "posts",
"id": "arts_13931773",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931773",
"score": null,
"sort": [
1689793038000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1689793038,
"format": "standard",
"title": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That...’",
"headTitle": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That…’ | KQED",
"content": "\u003cp>As a stone \u003cem>Justified\u003c/em> fan, I’m just not sure what to make of FX’s new limited series revival, \u003cem>Justified: City Primeval\u003c/em>.\u003c/p>\n\u003cp>On the surface, it offers what any good revival does: The bracing, nostalgia-laced return of a beloved character — Timothy Olyphant’s modern-day, Stetson-wearing lawman Raylan Givens — in a new adventure. This time, it’s based on a novel by the legendary author who created Givens, Elmore Leonard, set in Detroit, instead of the Kentucky hollers and small towns where the original \u003cem>Justified\u003c/em> series took place.\u003c/p>\n\u003cp>But Leonard’s 1980 book \u003cem>City Primeval\u003c/em> features a different protagonist, not Givens. So it’s not surprising that FX’s version feels like they lifted poor Raylan out of an environment where he makes sense and plopped him into a place where his charm, street savvy, Southern roots and drive to do the job is blunted and less appealing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N6KEgWSFfaE\u003c/p>\n\u003cp>Which highlights the particular challenges of the modern-day TV revival/reboot/reimagining. The best of these evoke a sense of the original but offer a fresh perspective and, if possible, corrects and improves on the shortcomings of the original series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13931005']Most of all, they have to answer a simple, yet telling question: Why is this happening now?\u003c/p>\n\u003cp>Some answers are just about business. A media company has intellectual property it wants to exploit. Stars of the show are willing to return for one more payday. Fans have bought enough ancillary products to show there’s a market.\u003c/p>\n\u003cp>But there’s only one answer that leads to a great series: Someone has found an amazing new story which must be told with these popular characters. And, for me, \u003cem>Justifed: City Primeval\u003c/em>, good as it is in spots, just doesn’t quite reach that pinnacle.\u003c/p>\n\u003cp>\u003cstrong>When a TV revival really works (or doesn’t)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13931775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg\" alt=\"A middle-aged man with grey hair stand next to an open car trunk, wearing a plaid shirt and bullet proof vest. Behind him are three police officers: a white man, a Black man and a white women with red hair.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Olyphant, Norbert Leo Butz, Victor Williams and Marin Ireland. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>City Primeval \u003c/em>makes a few odd choices for a revival. For most of the episodes, there is only one character from the original series in the new story (I don’t count Givens’ daughter, who was a baby in the original series and is a teen played by Olyphant’s real-life daughter in the revival). He’s chasing around a charismatic killer in Detroit, where Raylan’s “old soul in the modern age” vibe doesn’t wear as well.\u003c/p>\n\u003cp>[aside postid='arts_13931297']And the issues we see Givens weighing in the revival are the same ones he navigated in the previous series — his drive to take on psychopathic lawbreakers and the toll it takes on him and those who love him. It makes for a passable enough drama for those jonesing to see Givens in action again. But for those of us who remember the original series’ sharp wit and eye for compelling, original characters the question surfaces again: Why are we seeing this now?\u003c/p>\n\u003cp>Another revival which struggled with this question recently is the \u003cem>Sex and the City\u003c/em> spinoff, \u003cem>And Just Like That..\u003c/em>. So much of the original series’ appeal was rooted in how we felt about sex, gender, wealth, privilege, race and class back in the late 1990s and early 2000s. The update, now available on the Max streaming service, hasn’t provided a great answer for why we should check in on these characters nearly 20 years later — besides getting to see a few non-white and gay characters bask in the privilege that Carrie and her cohorts blithely enjoyed back in the day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iHh1SkiptEk\u003c/p>\n\u003cp>They’re still status-obsessed, unaware of their privilege and shoehorning characters of color into their storylines to avoid criticism (but mostly without one of the show’s coolest characters, Kim Cattrall’s Samantha Jones, courtesy of Cattrall’s \u003ca href=\"https://www.cosmopolitan.com/entertainment/tv/a35246263/kim-cattrall-sarah-jessica-parker-drama-timeline/?utm_source=google&utm_medium=cpc&utm_campaign=arb_ga_cos_md_pmx_us_urlx_18419138764&gclid=Cj0KCQjwtamlBhD3ARIsAARoaEzfw5V8ZoMGs_6Vr_0NBGCrPGgNcuSIgmj5zUyWeS2D768pHatQ7rkaAiDQEALw_wcB\">ongoing feud \u003c/a>with the rest of the cast). Fans eager to see these characters in new adventures may not care about these criticisms. But the rest of us are left scratching our heads and wondering why this show exists at all.\u003c/p>\n\u003cp>[aside postid='arts_13908472']As a card-carrying sci fi nerd, I know I’m biased. But I think the third season of \u003cem>Star Trek: Picard\u003c/em> was a much better example of a revival hitting on all cylinders. The season, which dropped earlier this year, reunited most major characters from \u003cem>Star Trek: The Next Generation\u003c/em> in a new adventure which allowed old characters to show fresh sides in a show with amped-up, modern special effects.\u003c/p>\n\u003cp>Maternal ship’s doctor Beverly Crusher came back as a butt-kicking, altruistic action hero with a secret past she’d hidden from her former flame, a wizened Admiral Jean-Luc Picard. Stalwart second-in-command Will Riker was a captain struggling to reconnect with his own family. Formerly blind engineer Geordi La Forge, now outfitted with awesome artificial eyes, was a parent himself. The new threat facing the galaxy was bound up in their shared history, but also revealed new depths to the characters that fans loved.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DI9hty_iT4Q\u003c/p>\n\u003cp>Nearly 30 years after the original series stopped making new episodes, the Picard revival was so successful it \u003ca href=\"https://trekmovie.com/2023/06/14/akiva-goldsman-says-appetite-for-star-trek-legacy-spinoff-from-picard-is-undeniable/\">sparked an online petition \u003c/a>by fans to continue the story in a new series based on a beloved video game, \u003cem>Star Trek: Legacy.\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Trek\u003c/em>‘s case, that central question — why now? — had a powerful answer.\u003c/p>\n\u003cp>\u003cstrong>When a TV reimagining really works\u003c/strong>\u003c/p>\n\u003cp>The original 1988 version of \u003cem>The Wonder Years\u003c/em> always stuck in my craw a bit. It was set at a time that was pivotal for race relations and Black people — two decades earlier, in 1968 — but featured no Black characters.\u003c/p>\n\u003cp>So ABC’s rejiggering of the show, centered this time on an all-Black family, felt a little bit like an apology. It’s also why this version — a heartwarming, gently funny tale featuring Don Cheadle as the grown-up voice of 12-year-old protagonist Dean Williams — works so nicely. Not only do we meet an authentic, entertaining family who couldn’t be more different than Fred Savage’s Kevin Arnold and his relations in suburbia, we see the show’s unique flashback formula used to tell new stories about a Black kid coming of age during times which affected black families very differently.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LOGo_RRF28\u003c/p>\n\u003cp>Instead of recreating the show as the Arnolds in blackface, ABC reimagined \u003cem>The Wonder Years\u003c/em> as a new tale set at the same time, focused on a different family. And because period pieces are always about the times when they are made rather than the times they depict, all the issues they present are handled far differently than they would have been in the late 1980s.\u003c/p>\n\u003cp>\u003cstrong>When a TV reboot (kind of ) works\u003c/strong>\u003c/p>\n\u003cp>For the purposes of this story, I’ve defined a TV reboot in slightly stricter terms than usual — as a new version of an old program featuring the same characters in the same setting. Think of the History channel’s remake of the classic 1970s-era miniseries \u003cem>Roots\u003c/em> in 2016. Or Netflix’s series version of Spike Lee’s first major film, \u003cem>She’s Gotta Have It\u003c/em>, in 2017. Stretch it a bit, and you might even include other Netflix standouts like \u003cem>Lost in Space\u003c/em> and \u003cem>Wednesday\u003c/em> (which is really just a reboot of \u003cem>The Addams Family\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13928702']In these cases, new actors played the same characters from the original program; they’re not older or younger versions, so they’re essentially rewriting — or, rebooting — stories featuring the core characters.\u003c/p>\n\u003cp>Often, it’s toughest for these kinds of shows to answer that central question. History’s \u003cem>Roots\u003c/em>, developed to reach a new generation, had lots of advantages: better effects and photography, upgraded historical facts, and Black characters who fought harder against exploitation. But it couldn’t match the impact of the original \u003cem>Roots\u003c/em>, which essentially created the TV miniseries format by presenting the most explicit vision of slavery’s cruelty yet seen on the small screen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sometimes, even with the best development and intentions, recreating a TV classic is like trying to catch lightning in a bottle for a second time — a longshot that won’t yield the dividends you expect, even when you get it mostly right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=TV+reboots+have+to+answer+one+question%3A+Why+now%3F+Just+look+at+%27Justified%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1460,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705005260,
"excerpt": "A beloved character returns in ‘Justified: City Primeval,’ but that alone isn't enough. So, what makes a good reboot work?",
"headData": {
"twImgId": "",
"twTitle": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That...’",
"socialTitle": "What Makes TV Reboots Fail? ‘And Just Like That’ Offers Clues %%page%% %%sep%% KQED",
"ogTitle": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That...’",
"ogImgId": "",
"twDescription": "",
"description": "A beloved character returns in ‘Justified: City Primeval,’ but that alone isn't enough. So, what makes a good reboot work?",
"title": "What Makes TV Reboots Fail? ‘And Just Like That’ Offers Clues | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That...’",
"datePublished": "2023-07-19T11:57:18-07:00",
"dateModified": "2024-01-11T12:34:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tv-reboots-and-just-like-that-star-trek-justified",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1186700469&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 18 Jul 2023 09:00:49 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 18 Jul 2023 16:45:54 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/18/1186700469/justified-city-primeval-review-timothy-olyphant?ft=nprml&f=1186700469",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2023/07/20230718_atc_tv_reboots_have_to_answer_one_question_why_now_just_look_at_justified.mp3?orgId=1&topicId=1163&d=262&p=2&story=1186700469&ft=nprml&f=1186700469",
"nprImageAgency": "FX",
"nprAudioM3u": "http://api.npr.org/m3u/11188408337-c55f81.m3u?orgId=1&topicId=1163&d=262&p=2&story=1186700469&ft=nprml&f=1186700469",
"nprStoryId": "1186700469",
"nprByline": "Eric Deggans",
"sticky": false,
"nprImageCredit": "Chuck Hodes",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 18 Jul 2023 16:56:00 -0400",
"path": "/arts/13931773/tv-reboots-and-just-like-that-star-trek-justified",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2023/07/20230718_atc_tv_reboots_have_to_answer_one_question_why_now_just_look_at_justified.mp3?orgId=1&topicId=1163&d=262&p=2&story=1186700469&ft=nprml&f=1186700469",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a stone \u003cem>Justified\u003c/em> fan, I’m just not sure what to make of FX’s new limited series revival, \u003cem>Justified: City Primeval\u003c/em>.\u003c/p>\n\u003cp>On the surface, it offers what any good revival does: The bracing, nostalgia-laced return of a beloved character — Timothy Olyphant’s modern-day, Stetson-wearing lawman Raylan Givens — in a new adventure. This time, it’s based on a novel by the legendary author who created Givens, Elmore Leonard, set in Detroit, instead of the Kentucky hollers and small towns where the original \u003cem>Justified\u003c/em> series took place.\u003c/p>\n\u003cp>But Leonard’s 1980 book \u003cem>City Primeval\u003c/em> features a different protagonist, not Givens. So it’s not surprising that FX’s version feels like they lifted poor Raylan out of an environment where he makes sense and plopped him into a place where his charm, street savvy, Southern roots and drive to do the job is blunted and less appealing.\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/N6KEgWSFfaE'\n title='//www.youtube.com/embed/N6KEgWSFfaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which highlights the particular challenges of the modern-day TV revival/reboot/reimagining. The best of these evoke a sense of the original but offer a fresh perspective and, if possible, corrects and improves on the shortcomings of the original series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931005",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Most of all, they have to answer a simple, yet telling question: Why is this happening now?\u003c/p>\n\u003cp>Some answers are just about business. A media company has intellectual property it wants to exploit. Stars of the show are willing to return for one more payday. Fans have bought enough ancillary products to show there’s a market.\u003c/p>\n\u003cp>But there’s only one answer that leads to a great series: Someone has found an amazing new story which must be told with these popular characters. And, for me, \u003cem>Justifed: City Primeval\u003c/em>, good as it is in spots, just doesn’t quite reach that pinnacle.\u003c/p>\n\u003cp>\u003cstrong>When a TV revival really works (or doesn’t)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13931775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg\" alt=\"A middle-aged man with grey hair stand next to an open car trunk, wearing a plaid shirt and bullet proof vest. Behind him are three police officers: a white man, a Black man and a white women with red hair.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Olyphant, Norbert Leo Butz, Victor Williams and Marin Ireland. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>City Primeval \u003c/em>makes a few odd choices for a revival. For most of the episodes, there is only one character from the original series in the new story (I don’t count Givens’ daughter, who was a baby in the original series and is a teen played by Olyphant’s real-life daughter in the revival). He’s chasing around a charismatic killer in Detroit, where Raylan’s “old soul in the modern age” vibe doesn’t wear as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931297",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And the issues we see Givens weighing in the revival are the same ones he navigated in the previous series — his drive to take on psychopathic lawbreakers and the toll it takes on him and those who love him. It makes for a passable enough drama for those jonesing to see Givens in action again. But for those of us who remember the original series’ sharp wit and eye for compelling, original characters the question surfaces again: Why are we seeing this now?\u003c/p>\n\u003cp>Another revival which struggled with this question recently is the \u003cem>Sex and the City\u003c/em> spinoff, \u003cem>And Just Like That..\u003c/em>. So much of the original series’ appeal was rooted in how we felt about sex, gender, wealth, privilege, race and class back in the late 1990s and early 2000s. The update, now available on the Max streaming service, hasn’t provided a great answer for why we should check in on these characters nearly 20 years later — besides getting to see a few non-white and gay characters bask in the privilege that Carrie and her cohorts blithely enjoyed back in the day.\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/iHh1SkiptEk'\n title='//www.youtube.com/embed/iHh1SkiptEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They’re still status-obsessed, unaware of their privilege and shoehorning characters of color into their storylines to avoid criticism (but mostly without one of the show’s coolest characters, Kim Cattrall’s Samantha Jones, courtesy of Cattrall’s \u003ca href=\"https://www.cosmopolitan.com/entertainment/tv/a35246263/kim-cattrall-sarah-jessica-parker-drama-timeline/?utm_source=google&utm_medium=cpc&utm_campaign=arb_ga_cos_md_pmx_us_urlx_18419138764&gclid=Cj0KCQjwtamlBhD3ARIsAARoaEzfw5V8ZoMGs_6Vr_0NBGCrPGgNcuSIgmj5zUyWeS2D768pHatQ7rkaAiDQEALw_wcB\">ongoing feud \u003c/a>with the rest of the cast). Fans eager to see these characters in new adventures may not care about these criticisms. But the rest of us are left scratching our heads and wondering why this show exists at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13908472",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As a card-carrying sci fi nerd, I know I’m biased. But I think the third season of \u003cem>Star Trek: Picard\u003c/em> was a much better example of a revival hitting on all cylinders. The season, which dropped earlier this year, reunited most major characters from \u003cem>Star Trek: The Next Generation\u003c/em> in a new adventure which allowed old characters to show fresh sides in a show with amped-up, modern special effects.\u003c/p>\n\u003cp>Maternal ship’s doctor Beverly Crusher came back as a butt-kicking, altruistic action hero with a secret past she’d hidden from her former flame, a wizened Admiral Jean-Luc Picard. Stalwart second-in-command Will Riker was a captain struggling to reconnect with his own family. Formerly blind engineer Geordi La Forge, now outfitted with awesome artificial eyes, was a parent himself. The new threat facing the galaxy was bound up in their shared history, but also revealed new depths to the characters that fans loved.\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/DI9hty_iT4Q'\n title='//www.youtube.com/embed/DI9hty_iT4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nearly 30 years after the original series stopped making new episodes, the Picard revival was so successful it \u003ca href=\"https://trekmovie.com/2023/06/14/akiva-goldsman-says-appetite-for-star-trek-legacy-spinoff-from-picard-is-undeniable/\">sparked an online petition \u003c/a>by fans to continue the story in a new series based on a beloved video game, \u003cem>Star Trek: Legacy.\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Trek\u003c/em>‘s case, that central question — why now? — had a powerful answer.\u003c/p>\n\u003cp>\u003cstrong>When a TV reimagining really works\u003c/strong>\u003c/p>\n\u003cp>The original 1988 version of \u003cem>The Wonder Years\u003c/em> always stuck in my craw a bit. It was set at a time that was pivotal for race relations and Black people — two decades earlier, in 1968 — but featured no Black characters.\u003c/p>\n\u003cp>So ABC’s rejiggering of the show, centered this time on an all-Black family, felt a little bit like an apology. It’s also why this version — a heartwarming, gently funny tale featuring Don Cheadle as the grown-up voice of 12-year-old protagonist Dean Williams — works so nicely. Not only do we meet an authentic, entertaining family who couldn’t be more different than Fred Savage’s Kevin Arnold and his relations in suburbia, we see the show’s unique flashback formula used to tell new stories about a Black kid coming of age during times which affected black families very differently.\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/-LOGo_RRF28'\n title='//www.youtube.com/embed/-LOGo_RRF28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Instead of recreating the show as the Arnolds in blackface, ABC reimagined \u003cem>The Wonder Years\u003c/em> as a new tale set at the same time, focused on a different family. And because period pieces are always about the times when they are made rather than the times they depict, all the issues they present are handled far differently than they would have been in the late 1980s.\u003c/p>\n\u003cp>\u003cstrong>When a TV reboot (kind of ) works\u003c/strong>\u003c/p>\n\u003cp>For the purposes of this story, I’ve defined a TV reboot in slightly stricter terms than usual — as a new version of an old program featuring the same characters in the same setting. Think of the History channel’s remake of the classic 1970s-era miniseries \u003cem>Roots\u003c/em> in 2016. Or Netflix’s series version of Spike Lee’s first major film, \u003cem>She’s Gotta Have It\u003c/em>, in 2017. Stretch it a bit, and you might even include other Netflix standouts like \u003cem>Lost in Space\u003c/em> and \u003cem>Wednesday\u003c/em> (which is really just a reboot of \u003cem>The Addams Family\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928702",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In these cases, new actors played the same characters from the original program; they’re not older or younger versions, so they’re essentially rewriting — or, rebooting — stories featuring the core characters.\u003c/p>\n\u003cp>Often, it’s toughest for these kinds of shows to answer that central question. History’s \u003cem>Roots\u003c/em>, developed to reach a new generation, had lots of advantages: better effects and photography, upgraded historical facts, and Black characters who fought harder against exploitation. But it couldn’t match the impact of the original \u003cem>Roots\u003c/em>, which essentially created the TV miniseries format by presenting the most explicit vision of slavery’s cruelty yet seen on the small screen.\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>Sometimes, even with the best development and intentions, recreating a TV classic is like trying to catch lightning in a bottle for a second time — a longshot that won’t yield the dividends you expect, even when you get it mostly right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=TV+reboots+have+to+answer+one+question%3A+Why+now%3F+Just+look+at+%27Justified%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931773/tv-reboots-and-just-like-that-star-trek-justified",
"authors": [
"byline_arts_13931773"
],
"categories": [
"arts_1",
"arts_75",
"arts_990"
],
"tags": [
"arts_8237",
"arts_8350",
"arts_5422",
"arts_15656",
"arts_12640"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931774",
"label": "arts_137"
},
"arts_13931750": {
"type": "posts",
"id": "arts_13931750",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931750",
"score": null,
"sort": [
1689702222000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1689702222,
"format": "standard",
"title": "Remembering André Watts, the American Pianist Who Opened Doors of Possibility",
"headTitle": "Remembering André Watts, the American Pianist Who Opened Doors of Possibility | KQED",
"content": "\u003cp>At age 7, I’m still so little that I have to tuck my legs underneath me to make myself taller in my seat. I need a clear view of the stage because André Watts, my favorite pianist, is about to make his entrance. He passes through San Francisco every year, and my mother always takes my sisters and me to his concerts. We’re all dressed up, three girls in matching dresses with white tights and Mary Janes, so excited to be here this evening. The stage door opens and he strolls out confidently, elegant in his tux and completely at home in the spotlight. He sits at the piano and my sisters and I lean in, enthralled by this dazzling young man who looks like he could be related to us, little brown girls who never see anyone who looks like us up on that big stage.\u003c/p>\n\u003cp>[aside postID='arts_12131486']Watts died last week of prostate cancer at age 77. He was a legend, from the star-is-born launch of his career in 1963 when \u003ca href=\"https://www.npr.org/artists/15234027/leonard-bernstein\">Leonard Bernstein\u003c/a> presented him at age 16 with the \u003ca href=\"https://www.npr.org/artists/19286842/new-york-philharmonic\">New York Philharmonic\u003c/a> to his long presence as one of the most beloved American artists of his generation. As a kid, it all looked so glamorous and exciting — the fairytale origin story, the old-school Romantic virtuosity, the awards and accolades, the autograph-seekers. Back then, I had no clue about the reality of a life in music, how much it tests you, demands endless devotion and determination. And I didn’t know how lonely it is to be the only brown person on the stage. I know that now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BjsOOri_7IE\u003c/p>\n\u003cp>Like me, Watts was mixed: Black father, white mother. Reading interviews and articles from early in his career, I realize that he was no more able to sidestep the minefields of race than anyone else in 20th century America. He told \u003ca href=\"https://www.csmonitor.com/1982/0429/042945.html\">\u003cem>The Christian Science Monitor\u003c/em>\u003c/a> in 1982: “When I was young, I was in the peculiar position with my school chums of not being white and not being Black either. Somehow I didn’t fit in very well at all.” And in a \u003ca href=\"https://www.nytimes.com/1971/09/19/archives/-im-doing-all-right-im-never-good-enough-but-im-not-standing-still-.html\">\u003cem>New York Times\u003c/em>\u003c/a> profile from 1971, I find this cringe-worthy description: “Depending upon mood and lighting, Watts is capable of appearing as variously as an austere mulatto dominating one of man’s most exclusive professions, a wistful pa’san surveying some Mediterranean terrace, or a bookish adolescent confronting his bar mitzvah.” Granted, times (and language) have changed since 1971, but my own identity has been similarly debated as I’ve navigated an industry that’s found me “exotic” and hard to place.\u003c/p>\n\u003cp>[aside postID='forum_2010101885176']I never had the chance to talk with Watts about the very recent changes in our field — the long-overdue appreciation of Black composers; some progress, finally, toward diversity in American orchestras, opera houses and concert halls. I hope it made him happy to witness those developments. But this I know: Just like me, every single Black and brown musician who is active on those stages today looked to André Watts as a guiding light. He inspired us with his gorgeous artistry, and he allowed us to see ourselves in his world, to hope and dream and work as hard as we could to follow in his footsteps. He led by example, and later in his life he actively mentored the next generation of pianists as a Distinguished Professor of Piano at Indiana University’s Jacobs School of Music. He cared about his students on a deeply personal level; he wrote to me some years ago recommending one of them for a young artists program I directed, describing the young man as “an altogether wonderful human being.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0-RGG4EaEeI\u003c/p>\n\u003cp>Watts loved music with what Bernstein called “a total embrace.” In his later years, he tried to keep performing despite injury and illness. The last time I saw him was in 2016, his first recital after a two-year hiatus, in a marathon program that included no less than \u003ca href=\"https://www.npr.org/artists/15044271/franz-schubert\">Schubert\u003c/a>‘s monumental “Wanderer” Fantasy. The cancer was already taking a toll. Backstage after the concert, he was tired and unhappy with his performance. I don’t remember what I said that afternoon, but I wish I had told him how much it’s because of him that I’m even here — how much I owe my career as a pianist to hearing his concerts when I was a little girl, and to seeing him ahead of me in the lineage that is our musical family.\u003c/p>\n\u003cp>[aside postID='arts_13889101']Reflecting on that lineage, I reached out to Bernstein’s children for their memories of the musical relationship that started André’s career. His daughter Jamie Bernstein sent these words:\u003c/p>\n\u003cp>“Alexander and I were old enough to remember André Watts’ Young People’s Concerts debut and the vibe our dad communicated on that national broadcast. Something unusual and thrilling was about to happen. We know Watts’ path was full of maddening obstacles, as is likely to happen to just about any person of color in this country. But we’re so glad that he was truly embraced and acknowledged by the world he worked and played in. He raised us all. As we Jewish folks say, may his memory be a blessing.”\u003c/p>\n\u003cp>His memory is not only a blessing, but a legacy. André Watts opened a door of possibility and promise for my generation, and we walk through it gratefully, always careful to leave it wide open behind us for the generations to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/7d5Fn0V6QqEleEyEXnuhv9?utm_source=generator\" width=\"100%\" height=\"500\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Andr%C3%A9+Watts%2C+the+American+pianist+who+opened+doors+of+possibility+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 990,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705005263,
"excerpt": "Pianist Lara Downes reflects on the magnitude of André Watts, from early performances in San Francisco to his death last week at age 77.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Pianist Lara Downes reflects on the magnitude of André Watts, from early performances in San Francisco to his death last week at age 77.",
"title": "Remembering André Watts, the American Pianist Who Opened Doors of Possibility | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Remembering André Watts, the American Pianist Who Opened Doors of Possibility",
"datePublished": "2023-07-18T10:43:42-07:00",
"dateModified": "2024-01-11T12:34:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "remembering-andre-watts-the-american-pianist-who-opened-doors-of-possibility",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1188166323&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 17 Jul 2023 15:28:28 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 17 Jul 2023 17:50:32 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/17/1188166323/remembering-andre-watts-the-american-pianist-who-opened-doors-of-possibility?ft=nprml&f=1188166323",
"nprImageAgency": "Getty Images",
"nprStoryId": "1188166323",
"nprByline": "Lara Downes",
"sticky": false,
"nprImageCredit": "CBS Photo Archive",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 17 Jul 2023 17:50:00 -0400",
"path": "/arts/13931750/remembering-andre-watts-the-american-pianist-who-opened-doors-of-possibility",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At age 7, I’m still so little that I have to tuck my legs underneath me to make myself taller in my seat. I need a clear view of the stage because André Watts, my favorite pianist, is about to make his entrance. He passes through San Francisco every year, and my mother always takes my sisters and me to his concerts. We’re all dressed up, three girls in matching dresses with white tights and Mary Janes, so excited to be here this evening. The stage door opens and he strolls out confidently, elegant in his tux and completely at home in the spotlight. He sits at the piano and my sisters and I lean in, enthralled by this dazzling young man who looks like he could be related to us, little brown girls who never see anyone who looks like us up on that big stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_12131486",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Watts died last week of prostate cancer at age 77. He was a legend, from the star-is-born launch of his career in 1963 when \u003ca href=\"https://www.npr.org/artists/15234027/leonard-bernstein\">Leonard Bernstein\u003c/a> presented him at age 16 with the \u003ca href=\"https://www.npr.org/artists/19286842/new-york-philharmonic\">New York Philharmonic\u003c/a> to his long presence as one of the most beloved American artists of his generation. As a kid, it all looked so glamorous and exciting — the fairytale origin story, the old-school Romantic virtuosity, the awards and accolades, the autograph-seekers. Back then, I had no clue about the reality of a life in music, how much it tests you, demands endless devotion and determination. And I didn’t know how lonely it is to be the only brown person on the stage. I know that now.\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/BjsOOri_7IE'\n title='//www.youtube.com/embed/BjsOOri_7IE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like me, Watts was mixed: Black father, white mother. Reading interviews and articles from early in his career, I realize that he was no more able to sidestep the minefields of race than anyone else in 20th century America. He told \u003ca href=\"https://www.csmonitor.com/1982/0429/042945.html\">\u003cem>The Christian Science Monitor\u003c/em>\u003c/a> in 1982: “When I was young, I was in the peculiar position with my school chums of not being white and not being Black either. Somehow I didn’t fit in very well at all.” And in a \u003ca href=\"https://www.nytimes.com/1971/09/19/archives/-im-doing-all-right-im-never-good-enough-but-im-not-standing-still-.html\">\u003cem>New York Times\u003c/em>\u003c/a> profile from 1971, I find this cringe-worthy description: “Depending upon mood and lighting, Watts is capable of appearing as variously as an austere mulatto dominating one of man’s most exclusive professions, a wistful pa’san surveying some Mediterranean terrace, or a bookish adolescent confronting his bar mitzvah.” Granted, times (and language) have changed since 1971, but my own identity has been similarly debated as I’ve navigated an industry that’s found me “exotic” and hard to place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "forum_2010101885176",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>I never had the chance to talk with Watts about the very recent changes in our field — the long-overdue appreciation of Black composers; some progress, finally, toward diversity in American orchestras, opera houses and concert halls. I hope it made him happy to witness those developments. But this I know: Just like me, every single Black and brown musician who is active on those stages today looked to André Watts as a guiding light. He inspired us with his gorgeous artistry, and he allowed us to see ourselves in his world, to hope and dream and work as hard as we could to follow in his footsteps. He led by example, and later in his life he actively mentored the next generation of pianists as a Distinguished Professor of Piano at Indiana University’s Jacobs School of Music. He cared about his students on a deeply personal level; he wrote to me some years ago recommending one of them for a young artists program I directed, describing the young man as “an altogether wonderful human being.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0-RGG4EaEeI'\n title='//www.youtube.com/embed/0-RGG4EaEeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Watts loved music with what Bernstein called “a total embrace.” In his later years, he tried to keep performing despite injury and illness. The last time I saw him was in 2016, his first recital after a two-year hiatus, in a marathon program that included no less than \u003ca href=\"https://www.npr.org/artists/15044271/franz-schubert\">Schubert\u003c/a>‘s monumental “Wanderer” Fantasy. The cancer was already taking a toll. Backstage after the concert, he was tired and unhappy with his performance. I don’t remember what I said that afternoon, but I wish I had told him how much it’s because of him that I’m even here — how much I owe my career as a pianist to hearing his concerts when I was a little girl, and to seeing him ahead of me in the lineage that is our musical family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Reflecting on that lineage, I reached out to Bernstein’s children for their memories of the musical relationship that started André’s career. His daughter Jamie Bernstein sent these words:\u003c/p>\n\u003cp>“Alexander and I were old enough to remember André Watts’ Young People’s Concerts debut and the vibe our dad communicated on that national broadcast. Something unusual and thrilling was about to happen. We know Watts’ path was full of maddening obstacles, as is likely to happen to just about any person of color in this country. But we’re so glad that he was truly embraced and acknowledged by the world he worked and played in. He raised us all. As we Jewish folks say, may his memory be a blessing.”\u003c/p>\n\u003cp>His memory is not only a blessing, but a legacy. André Watts opened a door of possibility and promise for my generation, and we walk through it gratefully, always careful to leave it wide open behind us for the generations to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/7d5Fn0V6QqEleEyEXnuhv9?utm_source=generator\" width=\"100%\" height=\"500\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Andr%C3%A9+Watts%2C+the+American+pianist+who+opened+doors+of+possibility+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931750/remembering-andre-watts-the-american-pianist-who-opened-doors-of-possibility",
"authors": [
"byline_arts_13931750"
],
"categories": [
"arts_1",
"arts_69",
"arts_1564"
],
"tags": [
"arts_1312"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931751",
"label": "arts_137"
},
"arts_13931718": {
"type": "posts",
"id": "arts_13931718",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931718",
"score": null,
"sort": [
1689620393000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1689620393,
"format": "aside",
"title": "Endometriosis, a Painful, Often Overlooked Disease, Gets Attention in a New Film",
"headTitle": "Endometriosis, a Painful, Often Overlooked Disease, Gets Attention in a New Film | KQED",
"content": "\u003cfigure id=\"attachment_13931719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-800x750.jpg\" alt=\"The sweat drenched torso of a woman is viewed in close up, with seven lesions visible around the belly button. Each is circled and numbered.\" width=\"800\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1020x956.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-768x720.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1536x1440.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Below the Belt’ is a documentary about endometriosis. \u003ccite>(‘Below the Belt’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jenneh Rishe, a registered nurse, is not the type to let a health mystery go unsolved.\u003c/p>\n\u003cp>At age 30 and living in Los Angeles, she was determined to suss out the cause of the abdominal pain that sent her to the ER seven times in two years, as well as other symptoms like shortness of breath. She’d seen specialists including OB/GYNs pulmonologists and cardiologists. But the tests always came back normal.\u003c/p>\n\u003cp>[aside postid='arts_13914530']“I thought maybe I’m dying or I have some kind of rare disease. But then I go online and find millions of women are going through exactly what I’m going through,” Rishe explained.\u003c/p>\n\u003cp>She shared the story in the first few minutes of \u003cem>Below the Belt: The Last Health Taboo,\u003c/em> a \u003ca href=\"https://www.belowthebelt.film/\">new documentary\u003c/a> that follows four people on a years-long search for effective treatment for endometriosis.\u003c/p>\n\u003cp>This chronic inflammatory disease, which often causes severe pain during menstruation, is often poorly understood. People with endometriosis have tissue similar to that found in the uterine lining growing outside of the uterus, sometimes on the ovaries, fallopian tubes, bowel or other organs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to sometimes debilitating menstrual pain, it can cause heavy bleeding and infertility. In one international study, \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/21718982/\">women lost an average of 10.8 hours per week of work\u003c/a> due to endometriosis symptoms.\u003c/p>\n\u003cp>“Even though endometriosis feels like a strange, foreign word and unfriendly to most people who’ve never heard of it, the fact of the matter is that it affects everyone,” said the film’s director Shannon Cohn, in an interview with NPR. “Either you have it or you love someone who has it.”\u003c/p>\n\u003cp>The disease affects an estimated 1 in 10 women of reproductive age according to the American College of Obstetricians and Gynecologists. Cohn says ignorance around the disease — both in the public and among medical professionals — is the result of historic undervaluing and underfunding of women’s health care.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z39-b4v6L1U\u003c/p>\n\u003cp>\u003cem>Below the Belt\u003c/em> aired on PBS last month is \u003ca href=\"https://www.pbs.org/show/below-belt-last-health-taboo/\">available to stream for free at PBS.org\u003c/a> and on the PBS streaming service until July 10, 2023.\u003c/p>\n\u003cp>Here are seven big takeaways from watching the film and speaking with Cohn.\u003c/p>\n\u003ch3>1. Endometriosis isn’t ‘just bad periods’\u003c/h3>\n\u003cp>“My first symptoms were actually GI symptoms,” says Cohn, who began experiencing symptoms at the age of 16. “I ran the whole gamut of why do I have stomach aches all the time? And that’s actually quite common that a lot of people with endometriosis first present with GI symptoms instead of painful periods,” says Cohn.\u003c/p>\n\u003cp>Other common symptoms include migraines, painful intercourse, chronic fatigue, abdominal swelling, and pelvic pain throughout the cycle.\u003c/p>\n\u003cp>The wide variety of symptoms can make it hard to diagnose — a doctor must perform surgery to make a definitive diagnosis. It typically takes a patient anywhere from\u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/30625295/\"> four to 10 years from first experiencing symptoms\u003c/a> to receive an accurate diagnosis.\u003c/p>\n\u003ch3>2. Commonly prescribed meds often do little to help\u003c/h3>\n\u003cp>If a patient shows up at their OB/GYN’s office complaining of painful menstruation or other problems that appear or worsen during their period, the doctor typically prescribes medication to suppress the hormonal cycle — often a hormonal contraceptive such as a birth control pill. These medications mitigate symptoms by allowing the patient to have a lighter period, or stop the cycle entirely.\u003c/p>\n\u003cp>[aside postid='arts_13930824']It’s important to understand that if a patient has endometriosis, hormonal medications don’t actually treat the disease, says Iris Orbuch, an endometriosis specialist who appears in the film. “We’re using the same medicines that have been around for about 30 years. They don’t make endometriosis go away, they don’t melt endometriosis,” Orbuch said in the film. “But the side effects are probably worse than the benefits that the women are receiving from the medicine.”\u003c/p>\n\u003cp>Patients interviewed for the film describe side effects including brittle teeth, hot flashes, depression and “PMS on steroids, on crack, on cocaine, and every possible stimulant.”\u003c/p>\n\u003ch3>3. A hysterectomy won’t cure endometriosis. Neither will pregnancy\u003c/h3>\n\u003cfigure id=\"attachment_13931723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg\" alt=\"A young woman wearing glasses lies in a hospital bed, visibly in pain, while an older man strokes her hair and kisses her forehead.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1536x1000.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Below the Belt’ shows Laura Cone of Saskatchewan, Canada with her father. She had four ablation surgeries with general OB/GYNs, but her condition kept deteriorating until she found a surgeon who did excision surgery. \u003ccite>(‘Below the Belt’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over 100,000 hysterectomies are performed every year for the disease and … most are unnecessary,” says \u003ca href=\"https://centerforendo.com/introduction-to-the-staff\">Heather Guidone\u003c/a>, surgical program director at the Center for Endometriosis Care in Atlanta, Ga. Another common myth is that if a person with endometriosis gets pregnant, their symptoms won’t return after their cycle resumes.\u003c/p>\n\u003cp>Guidone says the idea that both these false notions are based on an outdated theory that says if you stop periods, the disease goes away. A study of endometriosis patients who had hysterectomies and took painkillers \u003ca href=\"https://obgyn.onlinelibrary.wiley.com/doi/full/10.1111/1471-0528.16469\">showed no reduction in the amount of opioid and non-opioid painkillers\u003c/a> prescribed in the three years after surgery.\u003c/p>\n\u003cp>Why? One theory about the origin of endometriosis is that it’s the result of retrograde menstruation — meaning that during menstruation, some of the shed uterine lining travels through the fallopian tubes and implants in places where it shouldn’t be. People who ascribe to this theory think hysterectomy would help but still is not a cure.\u003c/p>\n\u003cp>But other surgeons like \u003ca href=\"https://endopaedia.info/redwine.html\">David Redwine\u003c/a>, who also appears in the film, point to evidence that endometriosis tissue actually appears during embryonic development. And so removing the uterus wouldn’t affect that tissue that’s been there since birth.\u003c/p>\n\u003cp>A hysterectomy is, however, the definitive treatment for adenomyosis — a disease where tissue from the uterine lining invades the muscle wall of the uterus. Adenomyosis also causes painful menstruation and infertility, and \u003ca href=\"https://nancysnookendo.com/hysterectomy-and-endometriosis/\">many patients have both conditions\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m28VUzDyaSs\u003c/p>\n\u003ch3>4. Endometriosis is responsible for up to 50% of infertility,\u003c/h3>\n\u003cp>Another of the film’s subjects is \u003ca href=\"https://www.kyung.com/\">Kyung Jeon-Miranda\u003c/a>, a Brooklyn-based artist whose paintings, featured in \u003cem>Below the Belt,\u003c/em> reflect her struggles with fertility and longing for motherhood. Jeon says she was told in her early twenties that she’d never be able to conceive. But at 39, she and her husband are trying for a baby.\u003c/p>\n\u003cp>\u003ca href=\"https://www.reproductivefacts.org/news-and-publications/fact-sheets-and-infographics/endometriosis-does-it-cause-infertility/\">Endometriosis can negatively impact fertility in several ways\u003c/a> including distorting the anatomy of the pelvis, causing scarring on the fallopian tubes and ovaries, changing the hormonal environment, and altering the functioning of the immune system. Surgery to remove endometriosis and fertility treatments may increase the likelihood of a successful pregnancy.\u003c/p>\n\u003ch3>5. Most surgeons are doing endometriosis surgery wrong\u003c/h3>\n\u003cp>\u003cem>Below the Belt\u003c/em> subject Laura Cone, 28, of Saskatchewan, Canada, had four surgeries with general OB/GYNs. But her condition kept deteriorating, impacting her ability to drive and run her business. Laura’s doctors had performed ablation — where an instrument is used to incinerate visible endometriosis tissue.\u003c/p>\n\u003cp>While ablation is the most common type of endometriosis surgery, it misses tissue hidden from the naked eye. Like Cone, many patients return for repeat ablations after their symptoms resume.\u003c/p>\n\u003cp>[aside postid='arts_13912974']“I use the analogy, if you have cancer and you have a tumor, do you want someone who’s not a specialist to burn off the surface of that tumor, or do you want a specialist to go in and cut it out?” the film’s director Cohn says.\u003c/p>\n\u003cp>The gold standard method of surgery is excision, where a surgeon removes endometriosis lesions and often adjacent tissue. Studies show a \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/28456617/\">greater reduction in symptoms\u003c/a> after excision compared with ablation, and fewer patients come back for repeat surgeries.\u003c/p>\n\u003cp>While many OB/GYNs who see patients for routine care perform ablation, excision surgery is done by surgeons with specialized training. And many of these specialists do not accept health insurance.\u003c/p>\n\u003cp>As the film explains, the medical billing codes for the two types of surgery are the same — even though ablation is typically performed in under an hour, while excision can take four hours or more. “You have a whole staff who are depending on you to pay their salaries and you have to pay the light bill,” says Ted Anderson, past president of ACOG, in the film. “There are a lot of economic pressures as well as do-the-right-thing-pressures.”\u003c/p>\n\u003cp>In the film, Cone’s father says he took out a second mortgage to raise the $25,000 needed to pay for his daughter’s excision surgery in the U.S.\u003c/p>\n\u003cp>There are surgeons qualified to do excision at teaching hospitals, Cohn points out, who do accept health insurance.\u003c/p>\n\u003ch3>6. To get proper care, patients need to take their health into their own hands.\u003c/h3>\n\u003cp>Both Laura Cone and Jenneh Rishe learned about excision surgery from other patients on the internet. Facebook groups like \u003ca href=\"https://www.facebook.com/groups/289078084538377\">Endometropolis \u003c/a>and \u003ca href=\"https://www.facebook.com/groups/418136991574617\">Nancy’s Nook\u003c/a> provide forums for patients to ask questions, compare experiences, recommend doctors, and even share surgery photos. Endometriosis specialists and nurses often answer questions in these groups as well. TikTok videos about endometriosis\u003ca href=\"https://www.newsweek.com/below-belt-endometriosis-movie-documentary-director-interview-1710510\"> have over 1 billion views\u003c/a>.\u003c/p>\n\u003cp>[aside postid='news_11951879']“When you’re not getting the answers that you need and, and want from a health care provider, you’re going to go somewhere else,” says Cohn. “Of course there’s misinformation everywhere and that includes online … But you can do some digging and try to put the pieces together and learn from other people who have been in your position,” she says.\u003c/p>\n\u003cp>Cohn also encourages patients to ask pointed questions in their doctors’ appointments, especially when considering surgery. She recommends asking the surgeon if they do excision, and how frequently they perform endometriosis surgery; as well as talking to other patients who have had surgeries performed by the specialist you’re working with.\u003c/p>\n\u003cp>In general, the earlier a patient receives excision surgery, the less they will suffer, because the symptoms tend to get worse over the female reproductive years. Endometriosis patients may find relief for their symptoms by many means, including \u003ca href=\"https://health.clevelandclinic.org/endometriosis-diet/\">changes to diet\u003c/a> and exercise, and receiving\u003ca href=\"https://www.sideeffectspublicmedia.org/personal-health/2013-12-29/can-abdominal-massage-help-painful-menstruation\"> massage\u003c/a> and \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5659600/\">acupuncture\u003c/a>. But experts say only excision surgery can halt progression of the disease.\u003c/p>\n\u003ch3>7. A bipartisan effort is working to secure more funding for endometriosis research.\u003c/h3>\n\u003cp>Emily Hatch, the youngest of the film’s subjects, is a high school senior from Massachusetts whose endometriosis threatens her ability to attend college. In one scene, Emily’s mother is on the phone with then Utah Senator Orrin Hatch — Emily’s grandfather. He says he wants to help.\u003c/p>\n\u003cp>Emily Hatch and her mother along with Project Endo, the organization behind \u003cem>Below the Belt,\u003c/em> worked with Senators Hatch and Sen. Elizabeth Warren to get \u003ca href=\"https://www.projectendo.org/research-funding\">$9.2 million in funding from the Department of Defense allocated for endometriosis research\u003c/a> in 2018. After Hatch’s retirement in 2019, Sen. Mitt Romney has worked alongside Warren to press for funding from the National Institutes of Health.\u003c/p>\n\u003cp>[aside postid='arts_13931543']This March, Warren and Romney \u003ca href=\"https://thehill.com/blogs/in-the-know/3881454-senate-screening-of-below-the-belt-spotlights-fight-against-endometriosis/\">hosted a screening of the documentary\u003c/a> before the Senate. Hillary Clinton is one of the film’s executive producers.\u003c/p>\n\u003cp>Cohn says more research funding is sorely needed to address the disease’s many unknowns. “I hope that we can do things like trying to find … what is actually causing endometriosis. Because until we find that out, it’s hard to really find ways to treat it. I hope that we can find a non-invasive diagnostic tool, so that women don’t have to go years and years without understanding what is going on in their body. I hope that research can yield non-hormonal treatment options,” Cohn says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Andrea Muraskin is a podcast producer and writer living in Boston. She writes the NPR Health newsletter, and is the host and creator of the podcast\u003c/em>\u003ca href=\"https://www.andreamuraskin.com/lady-parts-podcast\">\u003cem> LADYPARTS: Taking a Wide View on Women’s Health\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Endometriosis%2C+a+painful+and+often+overlooked+disease%2C+gets+attention+in+a+new+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2074,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 42
},
"modified": 1705005266,
"excerpt": "‘Below the Belt’ highlights patients' stories and the push for new research dollars for this poorly understood disease.",
"headData": {
"twImgId": "",
"twTitle": "Endometriosis, a Painful, Often Overlooked Disease, Gets Attention in a New Film",
"socialTitle": "’Below the Belt’ Documentary Highlights Pain of Endometriosis %%page%% %%sep%% KQED",
"ogTitle": "Endometriosis, a Painful, Often Overlooked Disease, Gets Attention in a New Film",
"ogImgId": "",
"twDescription": "",
"description": "‘Below the Belt’ highlights patients' stories and the push for new research dollars for this poorly understood disease.",
"title": "’Below the Belt’ Documentary Highlights Pain of Endometriosis | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Endometriosis, a Painful, Often Overlooked Disease, Gets Attention in a New Film",
"datePublished": "2023-07-17T11:59:53-07:00",
"dateModified": "2024-01-11T12:34:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "endometriosis-a-painful-often-overlooked-disease-gets-attention-in-a-new-film",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1186533247&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 16 Jul 2023 06:00:21 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 17 Jul 2023 08:05:06 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/sections/health-shots/2023/07/16/1186533247/endometriosis-a-painful-and-often-overlooked-disease-gets-attention-in-a-new-fil?ft=nprml&f=1186533247",
"nprImageAgency": "Below the Belt",
"nprStoryId": "1186533247",
"nprByline": "Andrea Muraskin",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 17 Jul 2023 08:05:00 -0400",
"path": "/arts/13931718/endometriosis-a-painful-often-overlooked-disease-gets-attention-in-a-new-film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-800x750.jpg\" alt=\"The sweat drenched torso of a woman is viewed in close up, with seven lesions visible around the belly button. Each is circled and numbered.\" width=\"800\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1020x956.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-768x720.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1536x1440.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Below the Belt’ is a documentary about endometriosis. \u003ccite>(‘Below the Belt’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jenneh Rishe, a registered nurse, is not the type to let a health mystery go unsolved.\u003c/p>\n\u003cp>At age 30 and living in Los Angeles, she was determined to suss out the cause of the abdominal pain that sent her to the ER seven times in two years, as well as other symptoms like shortness of breath. She’d seen specialists including OB/GYNs pulmonologists and cardiologists. But the tests always came back normal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13914530",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I thought maybe I’m dying or I have some kind of rare disease. But then I go online and find millions of women are going through exactly what I’m going through,” Rishe explained.\u003c/p>\n\u003cp>She shared the story in the first few minutes of \u003cem>Below the Belt: The Last Health Taboo,\u003c/em> a \u003ca href=\"https://www.belowthebelt.film/\">new documentary\u003c/a> that follows four people on a years-long search for effective treatment for endometriosis.\u003c/p>\n\u003cp>This chronic inflammatory disease, which often causes severe pain during menstruation, is often poorly understood. People with endometriosis have tissue similar to that found in the uterine lining growing outside of the uterus, sometimes on the ovaries, fallopian tubes, bowel or other organs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to sometimes debilitating menstrual pain, it can cause heavy bleeding and infertility. In one international study, \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/21718982/\">women lost an average of 10.8 hours per week of work\u003c/a> due to endometriosis symptoms.\u003c/p>\n\u003cp>“Even though endometriosis feels like a strange, foreign word and unfriendly to most people who’ve never heard of it, the fact of the matter is that it affects everyone,” said the film’s director Shannon Cohn, in an interview with NPR. “Either you have it or you love someone who has it.”\u003c/p>\n\u003cp>The disease affects an estimated 1 in 10 women of reproductive age according to the American College of Obstetricians and Gynecologists. Cohn says ignorance around the disease — both in the public and among medical professionals — is the result of historic undervaluing and underfunding of women’s health care.\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/Z39-b4v6L1U'\n title='//www.youtube.com/embed/Z39-b4v6L1U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Below the Belt\u003c/em> aired on PBS last month is \u003ca href=\"https://www.pbs.org/show/below-belt-last-health-taboo/\">available to stream for free at PBS.org\u003c/a> and on the PBS streaming service until July 10, 2023.\u003c/p>\n\u003cp>Here are seven big takeaways from watching the film and speaking with Cohn.\u003c/p>\n\u003ch3>1. Endometriosis isn’t ‘just bad periods’\u003c/h3>\n\u003cp>“My first symptoms were actually GI symptoms,” says Cohn, who began experiencing symptoms at the age of 16. “I ran the whole gamut of why do I have stomach aches all the time? And that’s actually quite common that a lot of people with endometriosis first present with GI symptoms instead of painful periods,” says Cohn.\u003c/p>\n\u003cp>Other common symptoms include migraines, painful intercourse, chronic fatigue, abdominal swelling, and pelvic pain throughout the cycle.\u003c/p>\n\u003cp>The wide variety of symptoms can make it hard to diagnose — a doctor must perform surgery to make a definitive diagnosis. It typically takes a patient anywhere from\u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/30625295/\"> four to 10 years from first experiencing symptoms\u003c/a> to receive an accurate diagnosis.\u003c/p>\n\u003ch3>2. Commonly prescribed meds often do little to help\u003c/h3>\n\u003cp>If a patient shows up at their OB/GYN’s office complaining of painful menstruation or other problems that appear or worsen during their period, the doctor typically prescribes medication to suppress the hormonal cycle — often a hormonal contraceptive such as a birth control pill. These medications mitigate symptoms by allowing the patient to have a lighter period, or stop the cycle entirely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930824",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s important to understand that if a patient has endometriosis, hormonal medications don’t actually treat the disease, says Iris Orbuch, an endometriosis specialist who appears in the film. “We’re using the same medicines that have been around for about 30 years. They don’t make endometriosis go away, they don’t melt endometriosis,” Orbuch said in the film. “But the side effects are probably worse than the benefits that the women are receiving from the medicine.”\u003c/p>\n\u003cp>Patients interviewed for the film describe side effects including brittle teeth, hot flashes, depression and “PMS on steroids, on crack, on cocaine, and every possible stimulant.”\u003c/p>\n\u003ch3>3. A hysterectomy won’t cure endometriosis. Neither will pregnancy\u003c/h3>\n\u003cfigure id=\"attachment_13931723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg\" alt=\"A young woman wearing glasses lies in a hospital bed, visibly in pain, while an older man strokes her hair and kisses her forehead.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1536x1000.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Below the Belt’ shows Laura Cone of Saskatchewan, Canada with her father. She had four ablation surgeries with general OB/GYNs, but her condition kept deteriorating until she found a surgeon who did excision surgery. \u003ccite>(‘Below the Belt’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over 100,000 hysterectomies are performed every year for the disease and … most are unnecessary,” says \u003ca href=\"https://centerforendo.com/introduction-to-the-staff\">Heather Guidone\u003c/a>, surgical program director at the Center for Endometriosis Care in Atlanta, Ga. Another common myth is that if a person with endometriosis gets pregnant, their symptoms won’t return after their cycle resumes.\u003c/p>\n\u003cp>Guidone says the idea that both these false notions are based on an outdated theory that says if you stop periods, the disease goes away. A study of endometriosis patients who had hysterectomies and took painkillers \u003ca href=\"https://obgyn.onlinelibrary.wiley.com/doi/full/10.1111/1471-0528.16469\">showed no reduction in the amount of opioid and non-opioid painkillers\u003c/a> prescribed in the three years after surgery.\u003c/p>\n\u003cp>Why? One theory about the origin of endometriosis is that it’s the result of retrograde menstruation — meaning that during menstruation, some of the shed uterine lining travels through the fallopian tubes and implants in places where it shouldn’t be. People who ascribe to this theory think hysterectomy would help but still is not a cure.\u003c/p>\n\u003cp>But other surgeons like \u003ca href=\"https://endopaedia.info/redwine.html\">David Redwine\u003c/a>, who also appears in the film, point to evidence that endometriosis tissue actually appears during embryonic development. And so removing the uterus wouldn’t affect that tissue that’s been there since birth.\u003c/p>\n\u003cp>A hysterectomy is, however, the definitive treatment for adenomyosis — a disease where tissue from the uterine lining invades the muscle wall of the uterus. Adenomyosis also causes painful menstruation and infertility, and \u003ca href=\"https://nancysnookendo.com/hysterectomy-and-endometriosis/\">many patients have both conditions\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m28VUzDyaSs'\n title='//www.youtube.com/embed/m28VUzDyaSs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>4. Endometriosis is responsible for up to 50% of infertility,\u003c/h3>\n\u003cp>Another of the film’s subjects is \u003ca href=\"https://www.kyung.com/\">Kyung Jeon-Miranda\u003c/a>, a Brooklyn-based artist whose paintings, featured in \u003cem>Below the Belt,\u003c/em> reflect her struggles with fertility and longing for motherhood. Jeon says she was told in her early twenties that she’d never be able to conceive. But at 39, she and her husband are trying for a baby.\u003c/p>\n\u003cp>\u003ca href=\"https://www.reproductivefacts.org/news-and-publications/fact-sheets-and-infographics/endometriosis-does-it-cause-infertility/\">Endometriosis can negatively impact fertility in several ways\u003c/a> including distorting the anatomy of the pelvis, causing scarring on the fallopian tubes and ovaries, changing the hormonal environment, and altering the functioning of the immune system. Surgery to remove endometriosis and fertility treatments may increase the likelihood of a successful pregnancy.\u003c/p>\n\u003ch3>5. Most surgeons are doing endometriosis surgery wrong\u003c/h3>\n\u003cp>\u003cem>Below the Belt\u003c/em> subject Laura Cone, 28, of Saskatchewan, Canada, had four surgeries with general OB/GYNs. But her condition kept deteriorating, impacting her ability to drive and run her business. Laura’s doctors had performed ablation — where an instrument is used to incinerate visible endometriosis tissue.\u003c/p>\n\u003cp>While ablation is the most common type of endometriosis surgery, it misses tissue hidden from the naked eye. Like Cone, many patients return for repeat ablations after their symptoms resume.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13912974",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I use the analogy, if you have cancer and you have a tumor, do you want someone who’s not a specialist to burn off the surface of that tumor, or do you want a specialist to go in and cut it out?” the film’s director Cohn says.\u003c/p>\n\u003cp>The gold standard method of surgery is excision, where a surgeon removes endometriosis lesions and often adjacent tissue. Studies show a \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/28456617/\">greater reduction in symptoms\u003c/a> after excision compared with ablation, and fewer patients come back for repeat surgeries.\u003c/p>\n\u003cp>While many OB/GYNs who see patients for routine care perform ablation, excision surgery is done by surgeons with specialized training. And many of these specialists do not accept health insurance.\u003c/p>\n\u003cp>As the film explains, the medical billing codes for the two types of surgery are the same — even though ablation is typically performed in under an hour, while excision can take four hours or more. “You have a whole staff who are depending on you to pay their salaries and you have to pay the light bill,” says Ted Anderson, past president of ACOG, in the film. “There are a lot of economic pressures as well as do-the-right-thing-pressures.”\u003c/p>\n\u003cp>In the film, Cone’s father says he took out a second mortgage to raise the $25,000 needed to pay for his daughter’s excision surgery in the U.S.\u003c/p>\n\u003cp>There are surgeons qualified to do excision at teaching hospitals, Cohn points out, who do accept health insurance.\u003c/p>\n\u003ch3>6. To get proper care, patients need to take their health into their own hands.\u003c/h3>\n\u003cp>Both Laura Cone and Jenneh Rishe learned about excision surgery from other patients on the internet. Facebook groups like \u003ca href=\"https://www.facebook.com/groups/289078084538377\">Endometropolis \u003c/a>and \u003ca href=\"https://www.facebook.com/groups/418136991574617\">Nancy’s Nook\u003c/a> provide forums for patients to ask questions, compare experiences, recommend doctors, and even share surgery photos. Endometriosis specialists and nurses often answer questions in these groups as well. TikTok videos about endometriosis\u003ca href=\"https://www.newsweek.com/below-belt-endometriosis-movie-documentary-director-interview-1710510\"> have over 1 billion views\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11951879",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“When you’re not getting the answers that you need and, and want from a health care provider, you’re going to go somewhere else,” says Cohn. “Of course there’s misinformation everywhere and that includes online … But you can do some digging and try to put the pieces together and learn from other people who have been in your position,” she says.\u003c/p>\n\u003cp>Cohn also encourages patients to ask pointed questions in their doctors’ appointments, especially when considering surgery. She recommends asking the surgeon if they do excision, and how frequently they perform endometriosis surgery; as well as talking to other patients who have had surgeries performed by the specialist you’re working with.\u003c/p>\n\u003cp>In general, the earlier a patient receives excision surgery, the less they will suffer, because the symptoms tend to get worse over the female reproductive years. Endometriosis patients may find relief for their symptoms by many means, including \u003ca href=\"https://health.clevelandclinic.org/endometriosis-diet/\">changes to diet\u003c/a> and exercise, and receiving\u003ca href=\"https://www.sideeffectspublicmedia.org/personal-health/2013-12-29/can-abdominal-massage-help-painful-menstruation\"> massage\u003c/a> and \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5659600/\">acupuncture\u003c/a>. But experts say only excision surgery can halt progression of the disease.\u003c/p>\n\u003ch3>7. A bipartisan effort is working to secure more funding for endometriosis research.\u003c/h3>\n\u003cp>Emily Hatch, the youngest of the film’s subjects, is a high school senior from Massachusetts whose endometriosis threatens her ability to attend college. In one scene, Emily’s mother is on the phone with then Utah Senator Orrin Hatch — Emily’s grandfather. He says he wants to help.\u003c/p>\n\u003cp>Emily Hatch and her mother along with Project Endo, the organization behind \u003cem>Below the Belt,\u003c/em> worked with Senators Hatch and Sen. Elizabeth Warren to get \u003ca href=\"https://www.projectendo.org/research-funding\">$9.2 million in funding from the Department of Defense allocated for endometriosis research\u003c/a> in 2018. After Hatch’s retirement in 2019, Sen. Mitt Romney has worked alongside Warren to press for funding from the National Institutes of Health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931543",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>This March, Warren and Romney \u003ca href=\"https://thehill.com/blogs/in-the-know/3881454-senate-screening-of-below-the-belt-spotlights-fight-against-endometriosis/\">hosted a screening of the documentary\u003c/a> before the Senate. Hillary Clinton is one of the film’s executive producers.\u003c/p>\n\u003cp>Cohn says more research funding is sorely needed to address the disease’s many unknowns. “I hope that we can do things like trying to find … what is actually causing endometriosis. Because until we find that out, it’s hard to really find ways to treat it. I hope that we can find a non-invasive diagnostic tool, so that women don’t have to go years and years without understanding what is going on in their body. I hope that research can yield non-hormonal treatment options,” Cohn says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Andrea Muraskin is a podcast producer and writer living in Boston. She writes the NPR Health newsletter, and is the host and creator of the podcast\u003c/em>\u003ca href=\"https://www.andreamuraskin.com/lady-parts-podcast\">\u003cem> LADYPARTS: Taking a Wide View on Women’s Health\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Endometriosis%2C+a+painful+and+often+overlooked+disease%2C+gets+attention+in+a+new+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931718/endometriosis-a-painful-often-overlooked-disease-gets-attention-in-a-new-film",
"authors": [
"byline_arts_13931718"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_7570",
"arts_1934",
"arts_1962",
"arts_9598",
"arts_4565",
"arts_5826",
"arts_973",
"arts_9325"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931719",
"label": "arts_137"
},
"arts_13931505": {
"type": "posts",
"id": "arts_13931505",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931505",
"score": null,
"sort": [
1689181720000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1689181720,
"format": "aside",
"title": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic",
"headTitle": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic | KQED",
"content": "\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>[aside postid='arts_13930279']“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>[aside postid='arts_13931389']Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>[aside postid='arts_13931196']Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1005,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705005283,
"excerpt": "An excellent work of people-first journalism, Donovan X. Ramsey's book offers a vivid history of the ’80s drug crisis.",
"headData": {
"twImgId": "",
"twTitle": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic",
"socialTitle": "Donovan X. Ramsey’s New Book Chronicles the Crack Epidemic %%page%% %%sep%% KQED",
"ogTitle": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic",
"ogImgId": "",
"twDescription": "",
"description": "An excellent work of people-first journalism, Donovan X. Ramsey's book offers a vivid history of the ’80s drug crisis.",
"title": "Donovan X. Ramsey’s New Book Chronicles the Crack Epidemic | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘When Crack Was King’ Follows Four People Who Lived Through the Drug Epidemic",
"datePublished": "2023-07-12T10:08:40-07:00",
"dateModified": "2024-01-11T12:34:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "when-crack-was-king-donovan-x-ramsey-review-drug-epidemic",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1186750331&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 11 Jul 2023 08:07:13 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 11 Jul 2023 08:07:13 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/11/1186750331/when-crack-was-king-follows-four-people-who-lived-through-the-drug-epidemic?ft=nprml&f=1186750331",
"nprImageAgency": "One World",
"nprStoryId": "1186750331",
"nprByline": "Ilana Masad",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 11 Jul 2023 08:07:00 -0400",
"path": "/arts/13931505/when-crack-was-king-donovan-x-ramsey-review-drug-epidemic",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg\" alt='An orange book cover with white writing that says \"When Crack Was King.\" In the lower left corner is a Black teen overlooking a bleak cityscape.' width=\"800\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1020x1556.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8-1342x2048.jpg 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/crack_custom-4e311bae931526d9ae5d7c2b6e5576a040fddef8.jpg 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When Crack Was King’ by Donovan X. Ramsey. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the introduction to his new book, \u003cem>When Crack Was King: A People’s History of a Misunderstood Era\u003c/em>, journalist Donovan X. Ramsey recalls how during his childhood in the early 1990s, the term “crackhead” was used as an insult.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930279",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I suppose we made it a slur,” he writes, “because we feared what it represented, a rock bottom to which any of us could sink. That’s what children do when they’re in search of power over things that frighten us. We reduce them to words, bite-size things that can be spat out at a moment’s notice.”\u003c/p>\n\u003cp>If only that same urge wasn’t so common among adults, especially those in positions of power. But as Ramsey details in \u003cem>King\u003c/em>, the crack epidemic is (still) misunderstood in large part due to the willful ignorance reflected in mainstream media coverage in the 1980s and ’90s, as well as the political convenience of soundbites like “crack baby” and “superpredator,” which were actively used to pass legislation that further policed and controlled poor communities of color, and Black people in particular.\u003c/p>\n\u003cp>Crack is the common term for cocaine that’s been processed using baking soda or ammonia and water in order to make it smokable. This method of cocaine use is highly addictive in part because it provides an intense and fast high that requires frequent use in order to maintain. As with other drug epidemics, there is no single event that led to crack’s popularity and its disastrous effects on so many of its users and dealers.\u003c/p>\n\u003cp>Rather, the epidemic spread due to a multitude of reasons such as government policies that economically isolated poor communities of color, the so-called War on Drugs and its focus on criminalization, and the falling price of cocaine and the ease with which it could be turned to crack. Ramsey focuses, too, on another important element: grief. The \u003ca href=\"https://news.arizona.edu/story/understanding-black-grief\">generational trauma\u003c/a> and grief Black Americans live with is part of that, of course, but Ramsey focuses as well on the “profound grief [which was the] result of everything they lost in the sixties and seventies — assassinations of leaders, destruction of their communities from riots, a Civil Rights Movement that cost them so much but ultimately missed the mark securing opportunity and freedom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>When Crack Was King\u003c/em> follows four people who lived through the epidemic in various ways. Lennie Woodley, now a substance abuse counselor for LA county, grew up in a tumultuous and abusive home, with a mother who yelled and beat her and an uncle who started as a source of solace before he began molesting her. She started using cocaine, first as powder and then as crack, during her early adolescence, and spent nearly three decades in the grips of her addiction. Through her story, Ramsey looks at how “[w]omen users, black women in particular, fell to the absolute lowest rung on the nation’s social ladder” and how these women users had “fewer avenues for income and were often steered into sex work, if they weren’t sex workers already.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931389",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ramsey also follows the stories of Elgin Swift and Shawn McCray, two men who worked for a time as dealers, though in different ways and with different scopes. Swift grew up in Yonkers, NY, with a single father who became addicted to crack while Swift was still young, leaving him to largely fend for himself, which included, eventually, dealing small amounts of crack. McCray, on the other hand, was part of Zoo Crew, a now-legendary drug trafficking ring in Newark, NJ, which spun off to become a local apparel brand name as well as, eventually, the name of McCray’s successful youth basketball program.\u003c/p>\n\u003cp>Through these men’s narratives, Ramsey highlights the nuances of drug dealing, how for many it’s less a chosen career and more a way to make money when there are no other jobs to be found. Additionally, despite the well-worn stereotype of morally corrupt dealers, these men weren’t trying to broaden their customer base by encouraging addiction in young people. By the height of the crack epidemic in the mid-1980s, there simply weren’t many casual users of the drug, and young people in the 1990s were disdainful of the substance and turning away from it and heroin as well.\u003c/p>\n\u003cp>The final character Ramsey follows is Kurt Schmoke, who served as the mayor of Baltimore during much of the 1980s and who advocated for drug decriminalization long before there was support for such an approach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931196",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Threaded through the four character studies are details of the era’s politics, the crime bills that led to the drastic increase in mass incarceration, legacy media’s insistence on sensationalizing crack and deploring its users, the ineffective War on Drugs and its disastrous consequences, and more, always in clear prose that focuses as much as possible on the flesh and blood individuals who were harmed by the epidemic.\u003c/p>\n\u003cp>An excellent work of people-first journalism, \u003cem>When Crack Was King \u003c/em>offers not only a vivid and frank history, but points to the way communities tend to save themselves even as they’re being actively targeted by state policy and violence. The crack epidemic may be over, Ramsey notes at book’s end, but drug fads and epidemics come and go, and our government and media apparatus must learn to respond to them better — which, judging by \u003ca href=\"https://theappeal.org/media-frame-fentanyl-panic-is-worsening-the-overdose-crisis/\">the coverage of\u003c/a> \u003ca href=\"https://theappeal.org/pulitzer-prize-matt-bevin-commutations/\">and response to\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/16/761329037/lawsuits-highlight-government-failures-in-opioid-crisis\">the opioid\u003c/a> \u003ca href=\"https://www.michigandaily.com/opinion/as-overdose-deaths-rise-the-opioid-crisis-response-fails/\">epidemic\u003c/a>, may yet take some time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is a fiction writer, book critic, and author of the novel ‘All My Mother’s Lovers.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+Crack+Was+King%27+follows+four+people+who+lived+through+the+drug+epidemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931505/when-crack-was-king-donovan-x-ramsey-review-drug-epidemic",
"authors": [
"byline_arts_13931505"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_7862"
],
"tags": [
"arts_10493",
"arts_8054",
"arts_11994",
"arts_7131",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931509",
"label": "arts_140"
},
"arts_13931440": {
"type": "posts",
"id": "arts_13931440",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931440",
"score": null,
"sort": [
1689092160000
]
},
"guestAuthors": [],
"slug": "oakland-filmmaker-cheryl-dunye-watermelon-woman-criterion-collection",
"title": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong'",
"publishDate": 1689092160,
"format": "standard",
"headTitle": "Oakland-Based Filmmaker Cheryl Dunye Advises: ‘Put Yourself Out Where You Belong’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwJc6hVgMDk\u003c/p>\n\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>[aside postid='arts_13894145']Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "Cheryl Dunye’s 1996 debut ‘The Watermelon Woman’ is being added to the Criterion Collection.",
"status": "publish",
"parent": 0,
"modified": 1726771094,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1274
},
"headData": {
"title": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong' | KQED",
"description": "Cheryl Dunye’s 1996 debut ‘The Watermelon Woman’ is being added to the Criterion Collection.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong'",
"datePublished": "2023-07-11T09:16:00-07:00",
"dateModified": "2024-09-19T11:38:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Allyson McCabe",
"nprImageAgency": "Jamie Hopper",
"nprStoryId": "1186387526",
"nprApiLink": "http://api.npr.org/query?id=1186387526&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2023/07/08/1186387526/cheryl-dunye-the-watermelon-woman?ft=nprml&f=1186387526",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 08 Jul 2023 11:23:00 -0400",
"nprStoryDate": "Sat, 08 Jul 2023 05:00:42 -0400",
"nprLastModifiedDate": "Sat, 08 Jul 2023 05:00:42 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2023/07/20230708_wesat_some_advice_from_filmmaker_cheryl_dunye_keep_putting_yourself_out_where_you_belong.mp3?orgId=1&topicId=1045&d=327&p=7&story=1186387526&ft=nprml&f=1186387526",
"nprAudioM3u": "http://api.npr.org/m3u/11186631661-213772.m3u?orgId=1&topicId=1045&d=327&p=7&story=1186387526&ft=nprml&f=1186387526",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13931440/oakland-filmmaker-cheryl-dunye-watermelon-woman-criterion-collection",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2023/07/20230708_wesat_some_advice_from_filmmaker_cheryl_dunye_keep_putting_yourself_out_where_you_belong.mp3?orgId=1&topicId=1045&d=327&p=7&story=1186387526&ft=nprml&f=1186387526",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\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/uwJc6hVgMDk'\n title='//www.youtube.com/embed/uwJc6hVgMDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\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 experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894145",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930047",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\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>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931440/oakland-filmmaker-cheryl-dunye-watermelon-woman-criterion-collection",
"authors": [
"byline_arts_13931440"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_3226",
"arts_1143",
"arts_17559",
"arts_9303"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931441",
"label": "arts_137"
},
"arts_13931297": {
"type": "posts",
"id": "arts_13931297",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931297",
"score": null,
"sort": [
1688753812000
]
},
"guestAuthors": [],
"slug": "climate-change-reality-tv-shark-tank-extreme-e-recipe-for-disaster",
"title": "Climate Change Is Our Reality — So Why Wouldn't It Appear on Reality TV?",
"publishDate": 1688753812,
"format": "standard",
"headTitle": "Climate Change Is Our Reality — So Why Wouldn’t It Appear on Reality TV? | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d3xdEGiypvc\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Od4i1OGStE\u003c/p>\n\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>[aside postid='arts_13931005']But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>[aside postid='arts_13930923']“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "Scenes highlighting climate change have recently been cropping up in everything from cooking shows to extreme sports series.",
"status": "publish",
"parent": 0,
"modified": 1729111661,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1031
},
"headData": {
"title": "Reality TV is Beginning to Highlight Climate Change | KQED",
"description": "Scenes highlighting climate change have recently been cropping up in everything from cooking shows to extreme sports series.",
"ogTitle": "Climate Change is Our Reality — So Why Wouldn't it Appear on Reality TV?",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Climate Change is Our Reality — So Why Wouldn't it Appear on Reality TV?",
"twDescription": "",
"twImgId": "",
"socialTitle": "Reality TV is Beginning to Highlight Climate Change %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Climate Change Is Our Reality — So Why Wouldn't It Appear on Reality TV?",
"datePublished": "2023-07-07T11:16:52-07:00",
"dateModified": "2024-10-16T13:47:41-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Zak Mauger",
"nprByline": "Chloe Veltman",
"nprImageAgency": "Extreme E",
"nprStoryId": "1186044585",
"nprApiLink": "http://api.npr.org/query?id=1186044585&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2023/07/07/1186044585/reality-tv-climate-change?ft=nprml&f=1186044585",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 07 Jul 2023 09:33:00 -0400",
"nprStoryDate": "Fri, 07 Jul 2023 05:00:28 -0400",
"nprLastModifiedDate": "Fri, 07 Jul 2023 05:00:28 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/07/20230707_me_climate_change_is_our_reality_so_why_wouldnt_it_appear_on_reality_tv.mp3?orgId=1&topicId=1167&d=254&p=3&story=1186044585&ft=nprml&f=1186044585",
"nprAudioM3u": "http://api.npr.org/m3u/11186338467-c29d10.m3u?orgId=1&topicId=1167&d=254&p=3&story=1186044585&ft=nprml&f=1186044585",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13931297/climate-change-reality-tv-shark-tank-extreme-e-recipe-for-disaster",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/07/20230707_me_climate_change_is_our_reality_so_why_wouldnt_it_appear_on_reality_tv.mp3?orgId=1&topicId=1167&d=254&p=3&story=1186044585&ft=nprml&f=1186044585",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\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/d3xdEGiypvc'\n title='//www.youtube.com/embed/d3xdEGiypvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\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/4Od4i1OGStE'\n title='//www.youtube.com/embed/4Od4i1OGStE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13931005",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930923",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931297/climate-change-reality-tv-shark-tank-extreme-e-recipe-for-disaster",
"authors": [
"byline_arts_13931297"
],
"categories": [
"arts_1",
"arts_22351",
"arts_75",
"arts_990"
],
"tags": [
"arts_1407",
"arts_2792"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931298",
"label": "arts_137"
},
"arts_13931227": {
"type": "posts",
"id": "arts_13931227",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931227",
"score": null,
"sort": [
1688662264000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1688662264,
"format": "standard",
"title": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp",
"headTitle": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp | KQED",
"content": "\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UCtE8zur6CM\u003c/p>\n\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>[aside postid='arts_13930502']Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 835,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705005311,
"excerpt": "It's hard not to get swept up in this journey — full of filthy one-liners and priceless sight gags.",
"headData": {
"twImgId": "",
"twTitle": "Buckle Up: This Mile-a-Minute ’Joy Ride’ Across China is a Raunchy Romp",
"socialTitle": "‘Joy Ride’ Review: Energetic Comedy That’s Asian Culture Savvy %%page%% %%sep%% KQED",
"ogTitle": "Buckle Up: This Mile-a-Minute ’Joy Ride’ Across China is a Raunchy Romp",
"ogImgId": "",
"twDescription": "",
"description": "It's hard not to get swept up in this journey — full of filthy one-liners and priceless sight gags.",
"title": "‘Joy Ride’ Review: Energetic Comedy That’s Asian Culture Savvy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp",
"datePublished": "2023-07-06T09:51:04-07:00",
"dateModified": "2024-01-11T12:35:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1186024981&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 06 Jul 2023 05:00:57 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 06 Jul 2023 05:00:57 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/07/1186024981/joy-ride-review?ft=nprml&f=1186024981",
"nprImageAgency": "Lionsgate",
"nprStoryId": "1186024981",
"nprByline": "Justin Chang",
"sticky": false,
"nprImageCredit": "Ed Araquel",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 06 Jul 2023 05:00:00 -0400",
"path": "/arts/13931227/buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930824",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\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 script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\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/UCtE8zur6CM'\n title='//www.youtube.com/embed/UCtE8zur6CM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13930502",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931227/buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp",
"authors": [
"byline_arts_13931227"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_75"
],
"tags": [
"arts_13689",
"arts_549",
"arts_585"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931228",
"label": "arts_140"
},
"arts_13931189": {
"type": "posts",
"id": "arts_13931189",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931189",
"score": null,
"sort": [
1688422950000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1688422950,
"format": "standard",
"title": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"headTitle": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done? | KQED",
"content": "\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/reel/CqRu31tD2nh\u003c/p>\n\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>[aside postid='futureofyou_202943']“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CptsxGHj52l\u003c/p>\n\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>[aside postid='arts_10134762']“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcBDDb2uv8_/\u003c/p>\n\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 736,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705005315,
"excerpt": "Orson Welles‘ follow-up to ‘Citizen Kane’ was ‘The Magnificent Ambersons’ — but it was edited into incoherence by the studio.",
"headData": {
"twImgId": "",
"twTitle": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"socialTitle": "Orson Welles’ ‘Magnificent Ambersons’ Gets a Fresh Edit %%page%% %%sep%% KQED",
"ogTitle": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"ogImgId": "",
"twDescription": "",
"description": "Orson Welles‘ follow-up to ‘Citizen Kane’ was ‘The Magnificent Ambersons’ — but it was edited into incoherence by the studio.",
"title": "Orson Welles’ ‘Magnificent Ambersons’ Gets a Fresh Edit | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"datePublished": "2023-07-03T15:22:30-07:00",
"dateModified": "2024-01-11T12:35:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "orson-welles-magnificent-ambersons-new-edit-brian-rose",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1184839653&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 03 Jul 2023 05:00:25 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 03 Jul 2023 11:04:15 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/03/1184839653/orson-welles-the-magnificent-ambersons?ft=nprml&f=1184839653",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/07/20230703_me_an_orson_welles_film_was_horribly_edited_will_cinematic_justice_finally_be_done.mp3?orgId=1&topicId=1045&d=228&p=3&story=1184839653&ft=nprml&f=1184839653",
"nprImageAgency": "Express/Hulton Archive/Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/11185740822-e07d4a.m3u?orgId=1&topicId=1045&d=228&p=3&story=1184839653&ft=nprml&f=1184839653",
"nprStoryId": "1184839653",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprImageCredit": "Len Trievnor",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 03 Jul 2023 11:03:00 -0400",
"path": "/arts/13931189/orson-welles-magnificent-ambersons-new-edit-brian-rose",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/07/20230703_me_an_orson_welles_film_was_horribly_edited_will_cinematic_justice_finally_be_done.mp3?orgId=1&topicId=1045&d=228&p=3&story=1184839653&ft=nprml&f=1184839653",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/reel/CqRu31tD2nh"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\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>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "futureofyou_202943",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/reel/CptsxGHj52l"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_10134762",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CcBDDb2uv8_/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931189/orson-welles-magnificent-ambersons-new-edit-brian-rose",
"authors": [
"byline_arts_13931189"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_12927"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931190",
"label": "arts_137"
},
"arts_13931168": {
"type": "posts",
"id": "arts_13931168",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931168",
"score": null,
"sort": [
1688410670000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1688410670,
"format": "aside",
"title": "'It's Not Over Yet': Artists Work to Keep Iran's Protests in View",
"headTitle": "‘It’s Not Over Yet’: Artists Work to Keep Iran’s Protests in View | KQED",
"content": "\u003cfigure id=\"attachment_13931169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg\" alt=\"\" width=\"800\" height=\"1040\" class=\"size-medium wp-image-13931169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1020x1326.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1182x1536.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1576x2048.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1.jpg 1814w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahsa Amini peers out from a mural by Rodrigo Pradel that covers an entire building side in a Washington, D.C. alley. Amini’s death in police custody in Iran last year led to protests and a revolutionary movement. \u003ccite>(Rodrigo Pradel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahsa Amini peers out from a mural that covers an entire building side in a Washington, D.C. alley, her head and shoulders floating over the words “Woman, Freedom, Life,” and a lion and lioness flanking her.\u003c/p>\n\u003cp>The mural’s painter is \u003ca href=\"https://rodrigopradel.com/ver2/\">Rodrigo Pradel\u003c/a>, a Chilean immigrant. He had no links to Iran or the large protests that erupted there when Amini, a young Kurdish woman, died in police custody last year. But it was his friend, Yasi Farazad, who inspired him to bring the movement half a world away to the streets of D.C., after seeing a similar piece in Los Angeles.\u003c/p>\n\u003cp>The project was a challenge. Unable to participate in the city’s official mural program, Farazad had to seek out a site on her own, and finally found one with the help of a friend in a building that was owned by an Iranian American man. Pradel painted the mural in under 20 hours. \u003c/p>\n\u003cp>The mural shows Amini in the center with the colors of the Iranian flag. The lioness is a symbol of strong women in Persian culture.\u003c/p>\n\u003cfigure id=\"attachment_13931170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe\" alt=\"a man and woman stand in front of a colorful mural\" width=\"800\" height=\"811\" class=\"size-medium wp-image-13931170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-1020x1034.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-160x162.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-768x778.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce.jpe 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Pradel and Yasi Farazad stand in front of the mural Pradel painted in Washington, D.C. during the unveiling event of the mural on Jan. 15. \u003ccite>(Yasi Farazad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mahsa is in the middle of it but she’s not the only one who needs protection,” Farazad told NPR. “I wanted this painting to represent all of us protecting women and men.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13922777']Before Pradel spraypainted the wall, a craft he has employed since the ’90s, Farazad explained the history and context of revolutionary movements and protests in Iran to him. \u003c/p>\n\u003cp>“I felt honored to paint among many great muralists in D.C. but also be the extended paintbrush for all people who support life and liberty in Iran,” he said.\u003c/p>\n\u003cp>Pradel then met local Iranian artists in the D.C. area and learned about their street art. \u003c/p>\n\u003ch3>Keeping the fight from fading from view\u003c/h3>\n\u003cp>Many artists are fueled right now by the protests, working out their thoughts and emotions in bold, colorful pieces and trying to keep\u003cstrong> \u003c/strong>the fight of Iranian women from fading from view.\u003c/p>\n\u003cp>Amini was detained in Tehran on Sept. 16 by Iran’s “morality police” for allegedly\u003cstrong> \u003c/strong>violating the country’s dress rules. She died three days\u003cstrong> \u003c/strong>later in police custody. Her birth name was \u003cem>Jîna\u003c/em>, which means ‘life’ in Kurdish. \u003c/p>\n\u003cp>Protesters flocked into the streets, often shouting the slogan “woman, freedom, life,” and men and women all across the world expressed their support. The #MahsaAmini hashtag was one of the most popular in Twitter history. \u003c/p>\n\u003cp>In the United States, artists were among the first to demonstrate their support in both traditional and innovative ways. \u003c/p>\n\u003cp>[aside postID='news_11931255']Art in major cities and globally “has awakened people about the struggle in Iran and kept them engaged with the ongoing fight of the Iranian people even when it stopped making headlines and the U.S. media largely stopped covering it,” said Persis Karim, director of the Center for Iranian Diaspora Studies at San Francisco State University. \u003c/p>\n\u003cp>It has become an important vehicle to show what people in Iran are enduring, said Karim. She believes social media, particularly Instagram, has made Iranian art more accessible online. She highlighted \u003ca href=\"https://mozaikphilanthropy.org/faa/\">MOZAIK’s digital exhibitions\u003c/a> as a significant example of collaboration between the diaspora around the world and local artists in Iran.\u003c/p>\n\u003cp>“It’s not a revolution,” she said. “It’s a revolutionary movement, and it’s not over yet.”\u003c/p>\n\u003ch3>‘This wall is like my dream’\u003c/h3>\n\u003cp>The wall at 14th and U Streets in what is known as D.C.’s Harlem has already been vandalized twice, and Pradel is planning to repaint it.\u003c/p>\n\u003cp>For Farazad, who was born in Iran and had to leave when she was just 15 months old, everything about this wall is deeply personal. \u003c/p>\n\u003cp>Like the current revolution in Iran, this art has brought people together in ways she had never seen before, she said. \u003c/p>\n\u003cp>“There were two times in my life when I was really proud of myself,” she said. “One was when my daughter was born. The second time was that evening when we finished painting the wall.”\u003c/p>\n\u003cp>Since her family left Iran in 1979, Farazad has never been able to return. \u003c/p>\n\u003cp>“This wall is like my dream,” she said. “I want to be able to go to Iran one day, not in shackles, not caged. I am raising a little girl to be a strong woman. I want all those little girls to have the same opportunities as my daughter does in America. And they don’t.”\u003c/p>\n\u003cfigure id=\"attachment_13931171\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg\" alt=\"A row of city bikes with protest art on them\" width=\"581\" height=\"436\" class=\"size-full wp-image-13931171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a-160x120.jpg 160w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">Art supporting the protests in Iran has moved to the streets, affixed here on bikeshares in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Street art from Tehran to D.C.\u003c/h3>\n\u003cp>Iranians have always used art to protest and communicate their ideas, said Mina M. Jafari, a Washington, D.C.-born Iranian American artist. \u003c/p>\n\u003cp>Since the protests last year, Jafari has noticed that Iranian art is moving out of the galleries and museums and onto the streets. \u003c/p>\n\u003cp>In Iran many artists don’t have the luxury of exhibiting their work privately and they are constantly policed and censored, she said. So now they produce visual and performing art pieces literally in the street and at small community events. \u003c/p>\n\u003cp>[aside postID='arts_13928089']“In Iran, art is many things. Sometimes it’s a performance, sometimes it’s a dream, sometimes it’s anger and desperation, but it’s always a way to live freely,” she said.\u003c/p>\n\u003cp>Jafari quit her job working on Iranian-American issues at a progressive think tank because she thought Iranian voices, especially those of women, were being “ignored and excluded,” she said. She and her Iranian husband now\u003ca href=\"https://www.instagram.com/kuchehdc/\"> own an art studio\u003c/a> called “Kucheh,” which means “alley” in Farsi, less than three miles from Pradel’s mural. \u003c/p>\n\u003cp>Jafari says her work is more nuanced than “hijab or removing the hijab.” \u003c/p>\n\u003cp>In a bold, graphical piece called “Woman, Life, Freedom!” Jafari used black, white and red to relay a deeper meaning of the current revolution. \u003c/p>\n\u003cp>Two minarets of a masjid, or mosque, are formed by large hands, with a woman’s face taking the place of the masjid’s dome. A middle finger rises at the top of each minaret and flames flow from the mouth. The flames say “woman, life, freedom,” in Persian, and Amini’s name appears among the stars. \u003c/p>\n\u003cp>The face’s unibrow represents all Iranian women, including queer Iranians, without eurocentric and gendered beauty standards, said Jafari.\u003c/p>\n\u003cfigure id=\"attachment_13931172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13931172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Mina M. Jafari uses a female head and arms to represent a masjid, or mosque, in this piece. \u003ccite>(Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My intention with this piece was to show that religion belongs to people,” she said. “We deserve to take back our religion from those who use and abuse it for power.”\u003c/p>\n\u003ch3>Art vs. sanctions\u003c/h3>\n\u003cp>The revolution begun less than a year ago is fizzling out, some scholars and observers say, not because the people have reached their aspirations but because of their economic struggles. \u003c/p>\n\u003cp>Many Iranians simply can’t afford to sustain protests or strikes, said Assal Rad, author of \u003cem>State of Resistance: Politics, Culture & Identity in Modern Iran.\u003c/em>\u003c/p>\n\u003cp>There are many pressures: U.S. sanctions, a record-high inflation rate of almost 50%, soaring youth unemployment. Over half of Iranians are now living in poverty, according to data from Iran’s Statistics Center. On top of that, many Iranian artists who move to the U.S. say it is almost impossible to sell their work or send money home to their families’ bank accounts.\u003c/p>\n\u003cp>In comparison to all past revolutions in Iran, this one was “leaderless,” primarily spearheaded by young women, said Alex Shams, editor-in-chief of Ajam Media Collective, a platform focused on culture and society in Iran as well as Central and South Asia.\u003c/p>\n\u003cp>[aside postID='forum_2010101892959']That fluidity has made the roles of artists even more important, he said. \u003c/p>\n\u003cp>“The artist movement outside of Iran\u003cstrong> \u003c/strong>can echo the voices inside of Iran and eventually create these connections across borders that both the Iranian government and the U.S. government have done a lot to prevent,” he said.\u003c/p>\n\u003cp>Back to Jafari’s painting of the woman and the mosque. At the time it was painted, an anonymous Iranian artist was dyeing fountains in Tehran blood-red. Jafari said, though, she also designed the flame coming out of the mouth of the woman to depict an Iranian symbol of rebirth.\u003c/p>\n\u003cp>“My art is not about destruction, but about bringing new life and leaving room for something else to grow,” she said, adding that the women’s revolution embodies that idea. \u003c/p>\n\u003cp>“It’s infinite because it planted new seeds in us. Those who have lost their lives believed in women, life and freedom. And it’s something that lives inside every Iranian,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13931173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg\" alt=\"Shirts hang on a line with the words Woman, Life Freedom printed on them \" width=\"800\" height=\"587\" class=\"size-medium wp-image-13931173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-2048x1503.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1920x1409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The slogan of the women’s revolution on shirts hanging in Kucheh Art Studio + Shop in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This digital story was edited by Lisa Lambert.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+not+over+yet%27%3A+Artists+work+to+keep+Iran%27s+protests+in+view&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1655,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 43
},
"modified": 1705005317,
"excerpt": "Mahsa Amini's death in Iran sparked a global movement on women's issues. Artists in the U.S. are working to keep it from fading from view.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Mahsa Amini's death in Iran sparked a global movement on women's issues. Artists in the U.S. are working to keep it from fading from view.",
"title": "'It's Not Over Yet': Artists Work to Keep Iran's Protests in View | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'It's Not Over Yet': Artists Work to Keep Iran's Protests in View",
"datePublished": "2023-07-03T11:57:50-07:00",
"dateModified": "2024-01-11T12:35:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "iran-artists-women-protests",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1185774167&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 03 Jul 2023 13:30:17 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 03 Jul 2023 14:07:09 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/07/03/1185774167/iran-mahsa-amini-woman-life-freedom-art-mural-washington-us?ft=nprml&f=1185774167",
"nprImageAgency": "Rodrigo Pradel",
"nprStoryId": "1185774167",
"nprByline": "Majd Al-Waheidi",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 03 Jul 2023 14:07:00 -0400",
"path": "/arts/13931168/iran-artists-women-protests",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg\" alt=\"\" width=\"800\" height=\"1040\" class=\"size-medium wp-image-13931169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1020x1326.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1182x1536.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1576x2048.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1.jpg 1814w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahsa Amini peers out from a mural by Rodrigo Pradel that covers an entire building side in a Washington, D.C. alley. Amini’s death in police custody in Iran last year led to protests and a revolutionary movement. \u003ccite>(Rodrigo Pradel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahsa Amini peers out from a mural that covers an entire building side in a Washington, D.C. alley, her head and shoulders floating over the words “Woman, Freedom, Life,” and a lion and lioness flanking her.\u003c/p>\n\u003cp>The mural’s painter is \u003ca href=\"https://rodrigopradel.com/ver2/\">Rodrigo Pradel\u003c/a>, a Chilean immigrant. He had no links to Iran or the large protests that erupted there when Amini, a young Kurdish woman, died in police custody last year. But it was his friend, Yasi Farazad, who inspired him to bring the movement half a world away to the streets of D.C., after seeing a similar piece in Los Angeles.\u003c/p>\n\u003cp>The project was a challenge. Unable to participate in the city’s official mural program, Farazad had to seek out a site on her own, and finally found one with the help of a friend in a building that was owned by an Iranian American man. Pradel painted the mural in under 20 hours. \u003c/p>\n\u003cp>The mural shows Amini in the center with the colors of the Iranian flag. The lioness is a symbol of strong women in Persian culture.\u003c/p>\n\u003cfigure id=\"attachment_13931170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe\" alt=\"a man and woman stand in front of a colorful mural\" width=\"800\" height=\"811\" class=\"size-medium wp-image-13931170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-1020x1034.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-160x162.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-768x778.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce.jpe 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Pradel and Yasi Farazad stand in front of the mural Pradel painted in Washington, D.C. during the unveiling event of the mural on Jan. 15. \u003ccite>(Yasi Farazad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mahsa is in the middle of it but she’s not the only one who needs protection,” Farazad told NPR. “I wanted this painting to represent all of us protecting women and men.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13922777",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Before Pradel spraypainted the wall, a craft he has employed since the ’90s, Farazad explained the history and context of revolutionary movements and protests in Iran to him. \u003c/p>\n\u003cp>“I felt honored to paint among many great muralists in D.C. but also be the extended paintbrush for all people who support life and liberty in Iran,” he said.\u003c/p>\n\u003cp>Pradel then met local Iranian artists in the D.C. area and learned about their street art. \u003c/p>\n\u003ch3>Keeping the fight from fading from view\u003c/h3>\n\u003cp>Many artists are fueled right now by the protests, working out their thoughts and emotions in bold, colorful pieces and trying to keep\u003cstrong> \u003c/strong>the fight of Iranian women from fading from view.\u003c/p>\n\u003cp>Amini was detained in Tehran on Sept. 16 by Iran’s “morality police” for allegedly\u003cstrong> \u003c/strong>violating the country’s dress rules. She died three days\u003cstrong> \u003c/strong>later in police custody. Her birth name was \u003cem>Jîna\u003c/em>, which means ‘life’ in Kurdish. \u003c/p>\n\u003cp>Protesters flocked into the streets, often shouting the slogan “woman, freedom, life,” and men and women all across the world expressed their support. The #MahsaAmini hashtag was one of the most popular in Twitter history. \u003c/p>\n\u003cp>In the United States, artists were among the first to demonstrate their support in both traditional and innovative ways. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11931255",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Art in major cities and globally “has awakened people about the struggle in Iran and kept them engaged with the ongoing fight of the Iranian people even when it stopped making headlines and the U.S. media largely stopped covering it,” said Persis Karim, director of the Center for Iranian Diaspora Studies at San Francisco State University. \u003c/p>\n\u003cp>It has become an important vehicle to show what people in Iran are enduring, said Karim. She believes social media, particularly Instagram, has made Iranian art more accessible online. She highlighted \u003ca href=\"https://mozaikphilanthropy.org/faa/\">MOZAIK’s digital exhibitions\u003c/a> as a significant example of collaboration between the diaspora around the world and local artists in Iran.\u003c/p>\n\u003cp>“It’s not a revolution,” she said. “It’s a revolutionary movement, and it’s not over yet.”\u003c/p>\n\u003ch3>‘This wall is like my dream’\u003c/h3>\n\u003cp>The wall at 14th and U Streets in what is known as D.C.’s Harlem has already been vandalized twice, and Pradel is planning to repaint it.\u003c/p>\n\u003cp>For Farazad, who was born in Iran and had to leave when she was just 15 months old, everything about this wall is deeply personal. \u003c/p>\n\u003cp>Like the current revolution in Iran, this art has brought people together in ways she had never seen before, she said. \u003c/p>\n\u003cp>“There were two times in my life when I was really proud of myself,” she said. “One was when my daughter was born. The second time was that evening when we finished painting the wall.”\u003c/p>\n\u003cp>Since her family left Iran in 1979, Farazad has never been able to return. \u003c/p>\n\u003cp>“This wall is like my dream,” she said. “I want to be able to go to Iran one day, not in shackles, not caged. I am raising a little girl to be a strong woman. I want all those little girls to have the same opportunities as my daughter does in America. And they don’t.”\u003c/p>\n\u003cfigure id=\"attachment_13931171\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg\" alt=\"A row of city bikes with protest art on them\" width=\"581\" height=\"436\" class=\"size-full wp-image-13931171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a-160x120.jpg 160w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">Art supporting the protests in Iran has moved to the streets, affixed here on bikeshares in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Street art from Tehran to D.C.\u003c/h3>\n\u003cp>Iranians have always used art to protest and communicate their ideas, said Mina M. Jafari, a Washington, D.C.-born Iranian American artist. \u003c/p>\n\u003cp>Since the protests last year, Jafari has noticed that Iranian art is moving out of the galleries and museums and onto the streets. \u003c/p>\n\u003cp>In Iran many artists don’t have the luxury of exhibiting their work privately and they are constantly policed and censored, she said. So now they produce visual and performing art pieces literally in the street and at small community events. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928089",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“In Iran, art is many things. Sometimes it’s a performance, sometimes it’s a dream, sometimes it’s anger and desperation, but it’s always a way to live freely,” she said.\u003c/p>\n\u003cp>Jafari quit her job working on Iranian-American issues at a progressive think tank because she thought Iranian voices, especially those of women, were being “ignored and excluded,” she said. She and her Iranian husband now\u003ca href=\"https://www.instagram.com/kuchehdc/\"> own an art studio\u003c/a> called “Kucheh,” which means “alley” in Farsi, less than three miles from Pradel’s mural. \u003c/p>\n\u003cp>Jafari says her work is more nuanced than “hijab or removing the hijab.” \u003c/p>\n\u003cp>In a bold, graphical piece called “Woman, Life, Freedom!” Jafari used black, white and red to relay a deeper meaning of the current revolution. \u003c/p>\n\u003cp>Two minarets of a masjid, or mosque, are formed by large hands, with a woman’s face taking the place of the masjid’s dome. A middle finger rises at the top of each minaret and flames flow from the mouth. The flames say “woman, life, freedom,” in Persian, and Amini’s name appears among the stars. \u003c/p>\n\u003cp>The face’s unibrow represents all Iranian women, including queer Iranians, without eurocentric and gendered beauty standards, said Jafari.\u003c/p>\n\u003cfigure id=\"attachment_13931172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13931172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Mina M. Jafari uses a female head and arms to represent a masjid, or mosque, in this piece. \u003ccite>(Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My intention with this piece was to show that religion belongs to people,” she said. “We deserve to take back our religion from those who use and abuse it for power.”\u003c/p>\n\u003ch3>Art vs. sanctions\u003c/h3>\n\u003cp>The revolution begun less than a year ago is fizzling out, some scholars and observers say, not because the people have reached their aspirations but because of their economic struggles. \u003c/p>\n\u003cp>Many Iranians simply can’t afford to sustain protests or strikes, said Assal Rad, author of \u003cem>State of Resistance: Politics, Culture & Identity in Modern Iran.\u003c/em>\u003c/p>\n\u003cp>There are many pressures: U.S. sanctions, a record-high inflation rate of almost 50%, soaring youth unemployment. Over half of Iranians are now living in poverty, according to data from Iran’s Statistics Center. On top of that, many Iranian artists who move to the U.S. say it is almost impossible to sell their work or send money home to their families’ bank accounts.\u003c/p>\n\u003cp>In comparison to all past revolutions in Iran, this one was “leaderless,” primarily spearheaded by young women, said Alex Shams, editor-in-chief of Ajam Media Collective, a platform focused on culture and society in Iran as well as Central and South Asia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "forum_2010101892959",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That fluidity has made the roles of artists even more important, he said. \u003c/p>\n\u003cp>“The artist movement outside of Iran\u003cstrong> \u003c/strong>can echo the voices inside of Iran and eventually create these connections across borders that both the Iranian government and the U.S. government have done a lot to prevent,” he said.\u003c/p>\n\u003cp>Back to Jafari’s painting of the woman and the mosque. At the time it was painted, an anonymous Iranian artist was dyeing fountains in Tehran blood-red. Jafari said, though, she also designed the flame coming out of the mouth of the woman to depict an Iranian symbol of rebirth.\u003c/p>\n\u003cp>“My art is not about destruction, but about bringing new life and leaving room for something else to grow,” she said, adding that the women’s revolution embodies that idea. \u003c/p>\n\u003cp>“It’s infinite because it planted new seeds in us. Those who have lost their lives believed in women, life and freedom. And it’s something that lives inside every Iranian,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13931173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg\" alt=\"Shirts hang on a line with the words Woman, Life Freedom printed on them \" width=\"800\" height=\"587\" class=\"size-medium wp-image-13931173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-2048x1503.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1920x1409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The slogan of the women’s revolution on shirts hanging in Kucheh Art Studio + Shop in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>This digital story was edited by Lisa Lambert.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+not+over+yet%27%3A+Artists+work+to+keep+Iran%27s+protests+in+view&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931168/iran-artists-women-protests",
"authors": [
"byline_arts_13931168"
],
"categories": [
"arts_1"
],
"tags": [
"arts_12134",
"arts_1494",
"arts_19000",
"arts_8263"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13931177",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?affiliate=npr": {
"isFetching": false,
"latestQuery": {
"from": 456,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13932418",
"arts_13932164",
"arts_13932004",
"arts_13931773",
"arts_13931750",
"arts_13931718",
"arts_13931505",
"arts_13931440",
"arts_13931297",
"arts_13931227",
"arts_13931189",
"arts_13931168"
],
"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_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_1945": {
"type": "terms",
"id": "arts_1945",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1945",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Game of Thrones",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Game of Thrones Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1957,
"slug": "game-of-thrones",
"isLoading": false,
"link": "/arts/tag/game-of-thrones"
},
"arts_3178": {
"type": "terms",
"id": "arts_3178",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3178",
"found": true
},
"relationships": {},
"featImg": null,
"name": "native american",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "native american Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3190,
"slug": "native-american",
"isLoading": false,
"link": "/arts/tag/native-american"
},
"arts_11420": {
"type": "terms",
"id": "arts_11420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new mexico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new mexico Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11432,
"slug": "new-mexico",
"isLoading": false,
"link": "/arts/tag/new-mexico"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"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_8393": {
"type": "terms",
"id": "arts_8393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hollywood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hollywood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8405,
"slug": "hollywood",
"isLoading": false,
"link": "/arts/tag/hollywood"
},
"arts_20439": {
"type": "terms",
"id": "arts_20439",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20439",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SAG-AFTRA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SAG-AFTRA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20451,
"slug": "sag-aftra",
"isLoading": false,
"link": "/arts/tag/sag-aftra"
},
"arts_16649": {
"type": "terms",
"id": "arts_16649",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16649",
"found": true
},
"relationships": {},
"featImg": null,
"name": "strike",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "strike Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16661,
"slug": "strike",
"isLoading": false,
"link": "/arts/tag/strike"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_21264": {
"type": "terms",
"id": "arts_21264",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21264",
"found": true
},
"relationships": {},
"featImg": null,
"name": "unions",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "unions Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21276,
"slug": "unions",
"isLoading": false,
"link": "/arts/tag/unions"
},
"arts_20434": {
"type": "terms",
"id": "arts_20434",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20434",
"found": true
},
"relationships": {},
"featImg": null,
"name": "writers strike",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "writers strike Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20446,
"slug": "writers-strike",
"isLoading": false,
"link": "/arts/tag/writers-strike"
},
"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_15961": {
"type": "terms",
"id": "arts_15961",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15961",
"found": true
},
"relationships": {},
"featImg": null,
"name": "emo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "emo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15973,
"slug": "emo",
"isLoading": false,
"link": "/arts/tag/emo"
},
"arts_5221": {
"type": "terms",
"id": "arts_5221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fiction",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fiction Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5233,
"slug": "fiction",
"isLoading": false,
"link": "/arts/tag/fiction"
},
"arts_8237": {
"type": "terms",
"id": "arts_8237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FX",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FX Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8249,
"slug": "fx",
"isLoading": false,
"link": "/arts/tag/fx"
},
"arts_8350": {
"type": "terms",
"id": "arts_8350",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8350",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8362,
"slug": "hbo",
"isLoading": false,
"link": "/arts/tag/hbo"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_15656": {
"type": "terms",
"id": "arts_15656",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15656",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Wonder Years",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Wonder Years Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15668,
"slug": "the-wonder-years",
"isLoading": false,
"link": "/arts/tag/the-wonder-years"
},
"arts_12640": {
"type": "terms",
"id": "arts_12640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Timothy Olyphant",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Timothy Olyphant Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12652,
"slug": "timothy-olyphant",
"isLoading": false,
"link": "/arts/tag/timothy-olyphant"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_7570": {
"type": "terms",
"id": "arts_7570",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7570",
"found": true
},
"relationships": {},
"featImg": null,
"name": "elizabeth warren",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "elizabeth warren Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7582,
"slug": "elizabeth-warren",
"isLoading": false,
"link": "/arts/tag/elizabeth-warren"
},
"arts_1934": {
"type": "terms",
"id": "arts_1934",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1934",
"found": true
},
"relationships": {},
"featImg": null,
"name": "facebook",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "facebook Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1946,
"slug": "facebook",
"isLoading": false,
"link": "/arts/tag/facebook"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_9598": {
"type": "terms",
"id": "arts_9598",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9598",
"found": true
},
"relationships": {},
"featImg": null,
"name": "health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "health Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9610,
"slug": "health",
"isLoading": false,
"link": "/arts/tag/health"
},
"arts_4565": {
"type": "terms",
"id": "arts_4565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pbs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pbs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4577,
"slug": "pbs",
"isLoading": false,
"link": "/arts/tag/pbs"
},
"arts_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"arts_973": {
"type": "terms",
"id": "arts_973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "science",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "science Archives | KQED Arts",
"ogDescription": null
},
"ttid": 991,
"slug": "science",
"isLoading": false,
"link": "/arts/tag/science"
},
"arts_9325": {
"type": "terms",
"id": "arts_9325",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9325",
"found": true
},
"relationships": {},
"featImg": null,
"name": "women's health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "women's health Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9337,
"slug": "womens-health",
"isLoading": false,
"link": "/arts/tag/womens-health"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_10493": {
"type": "terms",
"id": "arts_10493",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10493",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1980s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1980s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10505,
"slug": "1980s",
"isLoading": false,
"link": "/arts/tag/1980s"
},
"arts_8054": {
"type": "terms",
"id": "arts_8054",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8054",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1990s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1990s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8066,
"slug": "1990s",
"isLoading": false,
"link": "/arts/tag/1990s"
},
"arts_11994": {
"type": "terms",
"id": "arts_11994",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11994",
"found": true
},
"relationships": {},
"featImg": null,
"name": "New Jersey",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "New Jersey Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12006,
"slug": "new-jersey",
"isLoading": false,
"link": "/arts/tag/new-jersey"
},
"arts_7131": {
"type": "terms",
"id": "arts_7131",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7131",
"found": true
},
"relationships": {},
"featImg": null,
"name": "new york",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "new york Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7143,
"slug": "new-york",
"isLoading": false,
"link": "/arts/tag/new-york"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_17559": {
"type": "terms",
"id": "arts_17559",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17559",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Queen Sugar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Queen Sugar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17571,
"slug": "queen-sugar",
"isLoading": false,
"link": "/arts/tag/queen-sugar"
},
"arts_9303": {
"type": "terms",
"id": "arts_9303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Chi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Chi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9315,
"slug": "the-chi",
"isLoading": false,
"link": "/arts/tag/the-chi"
},
"arts_22351": {
"type": "terms",
"id": "arts_22351",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22351",
"found": true
},
"relationships": {},
"name": "Climate",
"slug": "climate",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Climate | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22363,
"isLoading": false,
"link": "/arts/category/climate"
},
"arts_1407": {
"type": "terms",
"id": "arts_1407",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1407",
"found": true
},
"relationships": {},
"featImg": null,
"name": "climate change",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "climate change Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1419,
"slug": "climate-change",
"isLoading": false,
"link": "/arts/tag/climate-change"
},
"arts_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_13689": {
"type": "terms",
"id": "arts_13689",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13689",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Adele Lim",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Adele Lim Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13701,
"slug": "adele-lim",
"isLoading": false,
"link": "/arts/tag/adele-lim"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_12927": {
"type": "terms",
"id": "arts_12927",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12927",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Orson Welles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Orson Welles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12939,
"slug": "orson-welles",
"isLoading": false,
"link": "/arts/tag/orson-welles"
},
"arts_12134": {
"type": "terms",
"id": "arts_12134",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12134",
"found": true
},
"relationships": {},
"featImg": null,
"name": "human rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "human rights Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12146,
"slug": "human-rights",
"isLoading": false,
"link": "/arts/tag/human-rights"
},
"arts_1494": {
"type": "terms",
"id": "arts_1494",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1494",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Iran",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Iran Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1506,
"slug": "iran",
"isLoading": false,
"link": "/arts/tag/iran"
},
"arts_19000": {
"type": "terms",
"id": "arts_19000",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19000",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mahsa Amini",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mahsa Amini Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19012,
"slug": "mahsa-amini",
"isLoading": false,
"link": "/arts/tag/mahsa-amini"
},
"arts_8263": {
"type": "terms",
"id": "arts_8263",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8263",
"found": true
},
"relationships": {},
"featImg": null,
"name": "women's rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "women's rights Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8275,
"slug": "womens-rights",
"isLoading": false,
"link": "/arts/tag/womens-rights"
}
},
"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
}
}