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_13891001": {
"type": "attachments",
"id": "arts_13891001",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13891001",
"found": true
},
"parent": 13891000,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c.jpg",
"width": 1545,
"height": 1029
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/pretenditsacity_custom-0e40f91ef33cbaa6f0fc62c48e0a7def904f9d0c-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1610392743,
"modified": 1610396830,
"caption": "Fran Lebowitz talks about a wide variety of topics—including her stint as a New York City cab driver—in the Netflix series, 'Pretend It's a City.'",
"description": "Fran Lebowitz talks about a wide variety of topics—including her stint as a New York City cab driver—in the Netflix series, 'Pretend It's a City.'",
"title": "Fran Lebowitz talks about a wide variety of topics—including her stint as a New York City cab driver—in the Netflix series, 'Pretend It's a City.'",
"credit": "Netflix",
"status": "inherit",
"altTag": "Fran Lebowitz smiles, mid-conversation, in an episode of the Netflix series, 'Pretend It's a City.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13890993": {
"type": "attachments",
"id": "arts_13890993",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890993",
"found": true
},
"parent": 13890992,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-scaled-e1610390558351.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dscf0673-20201004-edit_wide-cd6b27da736f9c74835809208b6a4725586d59f3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1610390258,
"modified": 1610390686,
"caption": "Tim Shantz conducts Luminous Voices' first car concert on Oct. 4, 2020.",
"description": "Tim Shantz conducts Luminous Voices' first car concert on Oct. 4, 2020.",
"title": "Tim Shantz conducts Luminous Voices' first car concert on Oct. 4, 2020.",
"credit": "Kenton Smith",
"status": "inherit",
"altTag": "Tim Shantz conducts Luminous Voices' first car concert, in a parking lot, on Oct. 4, 2020.",
"isLoading": false,
"fetchFailed": false
},
"arts_13890985": {
"type": "attachments",
"id": "arts_13890985",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890985",
"found": true
},
"parent": 13890984,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-e1610145942172.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-71506488-62edf578caf8a134dc0148d96f13cea659b74f26-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1610145199,
"modified": 1610145973,
"caption": "Singer-songwriter Tracy Chapman, performing in Carhaix-Plouguer, France in 2006.",
"description": "Singer-songwriter Tracy Chapman, performing in Carhaix-Plouguer, France in 2006.",
"title": "Singer-songwriter Tracy Chapman, performing in Carhaix-Plouguer, France in 2006.",
"credit": "Andre Durand/AFP via Getty Images",
"status": "inherit",
"altTag": "Singer-songwriter Tracy Chapman, performing in Carhaix-Plouguer, France in 2006.",
"isLoading": false,
"fetchFailed": false
},
"arts_13890974": {
"type": "attachments",
"id": "arts_13890974",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890974",
"found": true
},
"parent": 13890968,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/mary-poppins-002-tease-today-160601_086fe9f0c1c5e00dd514190b4d3a5c53-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1610132285,
"modified": 1610132396,
"caption": "Julie Andrews performing 'A Spoonful of Sugar' in 1964's 'Mary Poppins.'",
"description": "Julie Andrews performing 'A Spoonful of Sugar' in 1964's 'Mary Poppins.'",
"title": "Julie Andrews performing 'A Spoonful of Sugar' in 1964's 'Mary Poppins.'",
"credit": "Disney",
"status": "inherit",
"altTag": "Julie Andrews performing 'A Spoonful of Sugar' in 1964's 'Mary Poppins.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13890906": {
"type": "attachments",
"id": "arts_13890906",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890906",
"found": true
},
"parent": 13890905,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-scaled-e1610060480793.jpe",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-2048x1152.jpe",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-1536x864.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-1920x1080.jpe",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_0505_wide-b63a0945991f260f732d50383f33c9caa7062a0e-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1610059776,
"modified": 1610060556,
"caption": "Selena Mize's new mural of Roy Orbison in Vernon, Texas.",
"description": "Selena Mize's new mural of Roy Orbison in Vernon, Texas.",
"title": "Selena Mize's new mural of Roy Orbison in Vernon, Texas.",
"credit": "Ann Arnold-Ogden",
"status": "inherit",
"altTag": "Selena Mize's new mural of Roy Orbison in Vernon, Texas.",
"isLoading": false,
"fetchFailed": false
},
"arts_13890874": {
"type": "attachments",
"id": "arts_13890874",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890874",
"found": true
},
"parent": 13890865,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.07.51-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.07.51-PM-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.07.51-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.07.51-PM.png",
"width": 1364,
"height": 765
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.07.51-PM-1020x572.png",
"width": 1020,
"mimeType": "image/png",
"height": 572
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.07.51-PM-800x449.png",
"width": 800,
"mimeType": "image/png",
"height": 449
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.07.51-PM-768x431.png",
"width": 768,
"mimeType": "image/png",
"height": 431
}
},
"publishDate": 1609963709,
"modified": 1609963737,
"caption": null,
"description": null,
"title": "Screen Shot 2021-01-06 at 12.07.51 PM",
"credit": "Bloomsbury",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13890849": {
"type": "attachments",
"id": "arts_13890849",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890849",
"found": true
},
"parent": 13890846,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_wide-c549b115df265258cb5f90cb0be97633573597ce-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_wide-c549b115df265258cb5f90cb0be97633573597ce-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_wide-c549b115df265258cb5f90cb0be97633573597ce-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_wide-c549b115df265258cb5f90cb0be97633573597ce.jpg",
"width": 1400,
"height": 787
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_wide-c549b115df265258cb5f90cb0be97633573597ce-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_wide-c549b115df265258cb5f90cb0be97633573597ce-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_wide-c549b115df265258cb5f90cb0be97633573597ce-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1609881608,
"modified": 1609881608,
"caption": null,
"description": null,
"title": "exercised_wide-c549b115df265258cb5f90cb0be97633573597ce",
"credit": null,
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13890835": {
"type": "attachments",
"id": "arts_13890835",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890835",
"found": true
},
"parent": 13890831,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-12.13.44-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-12.13.44-PM-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-12.13.44-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-12.13.44-PM.png",
"width": 1295,
"height": 729
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-12.13.44-PM-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-12.13.44-PM-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-12.13.44-PM-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1609877652,
"modified": 1609877722,
"caption": "Ted Danson plays a retired millionaire who becomes mayor of Los Angeles in 'Mr. Mayor.'",
"description": "Ted Danson plays a retired millionaire who becomes mayor of Los Angeles in 'Mr. Mayor.'",
"title": "Ted Danson plays a retired millionaire who becomes mayor of Los Angeles in 'Mr. Mayor.'",
"credit": "Mitchell Haddad/NBC",
"status": "inherit",
"altTag": "Ted Danson playing a retired millionaire who becomes mayor of Los Angeles in 'Mr. Mayor.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13890784": {
"type": "attachments",
"id": "arts_13890784",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890784",
"found": true
},
"parent": 13890783,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-scaled-e1609785593357.jpg",
"width": 1920,
"height": 1268
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-2048x1352.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1352
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-1020x674.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 674
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-1536x1014.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1014
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-1920x1268.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1268
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-800x528.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 528
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-170445333_custom-34222afa6d7761bfccd21d2c77b192a8228b9fa8-768x507.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 507
}
},
"publishDate": 1609784988,
"modified": 1609785730,
"caption": "F. Scott Fitzgerald, Virginia Woolf, Ernest Hemingway, Franz Kafka and many more authors and artists had 1925 works enter the public domain on January 1. Above, a first edition of 'The Great Gatsby' at the London International Antiquarian Book Fair in 2013.",
"description": "F. Scott Fitzgerald, Virginia Woolf, Ernest Hemingway, Franz Kafka and many more authors and artists had 1925 works enter the public domain on January 1. Above, a first edition of 'The Great Gatsby' at the London International Antiquarian Book Fair in 2013.",
"title": "F. Scott Fitzgerald, Virginia Woolf, Ernest Hemingway, Franz Kafka and many more authors and artists had 1925 works enter the public domain on January 1. Above, a first edition of 'The Great Gatsby' at the London International Antiquarian Book Fair in 2013.",
"credit": "Oli Scarff/Getty Images",
"status": "inherit",
"altTag": "A first edition of 'The Great Gatsby' at the London International Antiquarian Book Fair in 2013.",
"isLoading": false,
"fetchFailed": false
},
"arts_13890778": {
"type": "attachments",
"id": "arts_13890778",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890778",
"found": true
},
"parent": 13890777,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-scaled-e1609784369455.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/01/gettyimages-161435560-7ea2d2f52b0da7a5026e2d7f8e8f44492f7718b5-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1609783658,
"modified": 1609784501,
"caption": "Justin Lansing and Joe Mailander of The Okee Dokee Brothers, after winning Best Children's Album for 'Can You Canoe?' at the 55th Grammy Awards, Los Angeles, Feb. 2013. ",
"description": "Justin Lansing and Joe Mailander of The Okee Dokee Brothers, after winning Best Children's Album for 'Can You Canoe?' at the 55th Grammy Awards, Los Angeles, Feb. 2013. ",
"title": "Justin Lansing and Joe Mailander of The Okee Dokee Brothers, after winning Best Children's Album for 'Can You Canoe?' at the 55th Grammy Awards, Los Angeles, Feb. 2013.",
"credit": "Frederick M. Brown/Getty Images",
"status": "inherit",
"altTag": "Justin Lansing and Joe Mailander of The Okee Dokee Brothers, after winning Best Children's Album for 'Can You Canoe?' at the 55th Grammy Awards, Los Angeles, Feb. 2013.",
"isLoading": false,
"fetchFailed": false
},
"arts_13890757": {
"type": "attachments",
"id": "arts_13890757",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890757",
"found": true
},
"parent": 13890756,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e-1038x576.jpe",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e-160x90.jpe",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e-672x372.jpe",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e.jpe",
"width": 1909,
"height": 1074
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e-1020x574.jpe",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e-1536x864.jpe",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e-800x450.jpe",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/wonder-woman-1984_0_wide-46b42a8116538760f80eae04d4797d50f971891e-768x432.jpe",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1608750742,
"modified": 1608753032,
"caption": "She's Running: Diana (Gal Gadot) chases her quarry through the streets of Washington in the sequel, 'Wonder Woman 1984.'",
"description": "She's Running: Diana (Gal Gadot) chases her quarry through the streets of Washington in the sequel, 'Wonder Woman 1984.'",
"title": "She's Running: Diana (Gal Gadot) chases her quarry through the streets of Washington in the sequel, 'Wonder Woman 1984.'",
"credit": "Warner Bros.",
"status": "inherit",
"altTag": "She's Running: Diana, played by Gal Gadot, chases her quarry through the streets of Washington in the sequel, 'Wonder Woman 1984.'",
"isLoading": false,
"fetchFailed": false
},
"arts_13890742": {
"type": "attachments",
"id": "arts_13890742",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13890742",
"found": true
},
"parent": 13890741,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/genloves101615publicitypicturesrentalretailp38383e5e004ed57381d396c35c3009e01aaab27dabf51-s_custom-bbc822c9952806bd7b9821dad36fd9d5b23bdb7f-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/genloves101615publicitypicturesrentalretailp38383e5e004ed57381d396c35c3009e01aaab27dabf51-s_custom-bbc822c9952806bd7b9821dad36fd9d5b23bdb7f-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/genloves101615publicitypicturesrentalretailp38383e5e004ed57381d396c35c3009e01aaab27dabf51-s_custom-bbc822c9952806bd7b9821dad36fd9d5b23bdb7f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/genloves101615publicitypicturesrentalretailp38383e5e004ed57381d396c35c3009e01aaab27dabf51-s_custom-bbc822c9952806bd7b9821dad36fd9d5b23bdb7f.jpg",
"width": 1024,
"height": 682
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/genloves101615publicitypicturesrentalretailp38383e5e004ed57381d396c35c3009e01aaab27dabf51-s_custom-bbc822c9952806bd7b9821dad36fd9d5b23bdb7f-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/genloves101615publicitypicturesrentalretailp38383e5e004ed57381d396c35c3009e01aaab27dabf51-s_custom-bbc822c9952806bd7b9821dad36fd9d5b23bdb7f-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/12/genloves101615publicitypicturesrentalretailp38383e5e004ed57381d396c35c3009e01aaab27dabf51-s_custom-bbc822c9952806bd7b9821dad36fd9d5b23bdb7f-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1608682981,
"modified": 1608683580,
"caption": "Ryan O'Neal and Ali MacGraw starring in the 'unabashedly sentimental' 'Love Story' in 1970.",
"description": "Ryan O'Neal and Ali MacGraw starring in the 'unabashedly sentimental' 'Love Story' in 1970.",
"title": "Ryan O'Neal and Ali MacGraw starring in the 'unabashedly sentimental' 'Love Story' in 1970.",
"credit": "Paramount Pictures",
"status": "inherit",
"altTag": "Ryan O'Neal and Ali MacGraw starring in the 'unabashedly sentimental' 'Love Story' in 1970.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13891000": {
"type": "authors",
"id": "byline_arts_13891000",
"meta": {
"override": true
},
"slug": "byline_arts_13891000",
"name": "Terry Gross",
"isLoading": false
},
"byline_arts_13890992": {
"type": "authors",
"id": "byline_arts_13890992",
"meta": {
"override": true
},
"slug": "byline_arts_13890992",
"name": "Nina Kravinsky",
"isLoading": false
},
"byline_arts_13890984": {
"type": "authors",
"id": "byline_arts_13890984",
"meta": {
"override": true
},
"slug": "byline_arts_13890984",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13890968": {
"type": "authors",
"id": "byline_arts_13890968",
"meta": {
"override": true
},
"slug": "byline_arts_13890968",
"name": "Jo Corona",
"isLoading": false
},
"byline_arts_13890905": {
"type": "authors",
"id": "byline_arts_13890905",
"meta": {
"override": true
},
"slug": "byline_arts_13890905",
"name": "Elizabeth Blair",
"isLoading": false
},
"byline_arts_13890865": {
"type": "authors",
"id": "byline_arts_13890865",
"meta": {
"override": true
},
"slug": "byline_arts_13890865",
"name": "Maureen Corrigan",
"isLoading": false
},
"byline_arts_13890846": {
"type": "authors",
"id": "byline_arts_13890846",
"meta": {
"override": true
},
"slug": "byline_arts_13890846",
"name": "Barbara J. King",
"isLoading": false
},
"byline_arts_13890831": {
"type": "authors",
"id": "byline_arts_13890831",
"meta": {
"override": true
},
"slug": "byline_arts_13890831",
"name": "David Bianculli",
"isLoading": false
},
"byline_arts_13890783": {
"type": "authors",
"id": "byline_arts_13890783",
"meta": {
"override": true
},
"slug": "byline_arts_13890783",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13890777": {
"type": "authors",
"id": "byline_arts_13890777",
"meta": {
"override": true
},
"slug": "byline_arts_13890777",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_arts_13890756": {
"type": "authors",
"id": "byline_arts_13890756",
"meta": {
"override": true
},
"slug": "byline_arts_13890756",
"name": "Glen Weldon",
"isLoading": false
},
"byline_arts_13890741": {
"type": "authors",
"id": "byline_arts_13890741",
"meta": {
"override": true
},
"slug": "byline_arts_13890741",
"name": "Elizabeth Blair",
"isLoading": false
}
},
"pagesReducer": {
"arts_affiliate_npr": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"score": 14.262318
},
"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": 88
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?affiliate=npr",
"seeMore": false,
"paginated": true,
"page": 88
}
},
{
"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_13891000": {
"type": "posts",
"id": "arts_13891000",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13891000",
"score": null,
"sort": [
1610397044000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1610397044,
"format": "standard",
"title": "Fran Lebowitz's 'Pretend It's a City' is the NYC Trip You Can't Take Right Now",
"headTitle": "Fran Lebowitz’s ‘Pretend It’s a City’ is the NYC Trip You Can’t Take Right Now | KQED",
"content": "\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MClMxqD-HNA\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” [aside postid='pop_8412']\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1591,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1705019667,
"excerpt": "The show features the humorist's conversations with Martin Scorsese. \"If I dropped the Hope Diamond on the floor of a subway car, I'd leave it there.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The show features the humorist's conversations with Martin Scorsese. "If I dropped the Hope Diamond on the floor of a subway car, I'd leave it there."",
"title": "Fran Lebowitz's 'Pretend It's a City' is the NYC Trip You Can't Take Right Now | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Fran Lebowitz's 'Pretend It's a City' is the NYC Trip You Can't Take Right Now",
"datePublished": "2021-01-11T12:30:44-08:00",
"dateModified": "2024-01-11T16:34:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=955483273&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 11 Jan 2021 12:08:19 -0500",
"nprLastModifiedDate": "Mon, 11 Jan 2021 12:09:01 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/11/955483273/fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now?ft=nprml&f=955483273",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210111_fa_01.mp3?orgId=427869011&topicId=1138&d=2200&p=13&story=955483273&ft=nprml&f=955483273",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1955677800-4705a4.m3u?orgId=427869011&topicId=1138&d=2200&p=13&story=955483273&ft=nprml&f=955483273",
"nprStoryId": "955483273",
"nprByline": "Terry Gross",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 11 Jan 2021 13:40:00 -0500",
"path": "/arts/13891000/fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210111_fa_01.mp3?orgId=427869011&topicId=1138&d=2200&p=13&story=955483273&ft=nprml&f=955483273",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\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/MClMxqD-HNA'\n title='//www.youtube.com/embed/MClMxqD-HNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_8412",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\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>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13891000/fran-lebowitzs-pretend-its-a-city-is-the-nyc-trip-you-cant-take-right-now",
"authors": [
"byline_arts_13891000"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_3752",
"arts_8350",
"arts_3324",
"arts_6713"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13891001",
"label": "arts_137"
},
"arts_13890992": {
"type": "posts",
"id": "arts_13890992",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890992",
"score": null,
"sort": [
1610392333000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1610392333,
"format": "standard",
"title": "Car Concerts Offer Choirs a Way to Rehearse and Perform",
"headTitle": "Car Concerts Offer Choirs a Way to Rehearse and Perform | KQED",
"content": "\u003cp>For members of Luminous Voices, a professional choir ensemble in Alberta, Canada, rehearsing and performing safely during the pandemic has meant getting into their cars, driving to an empty parking lot and singing with each other’s voices broadcast through their car radios.\u003c/p>\n\u003cp>This “car choir” solution is one that college music professor David Newman—an accomplished baritone himself in Virginia—came up with so that ensembles could sing and “be” together.\u003c/p>\n\u003cp>“All I saw on my Facebook feed was friends either bemoaning the fact that we couldn’t sing together at all, or saying ‘Singing together is too important and we just have to do it no matter what,’ ” Newman tells NPR. “And I thought, neither of those is a good answer.”\u003c/p>\n\u003cp>Newman’s method uses a few simple tools—microphones, a mixer and an FM transmitter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yjL5TjO_Hhs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He started by getting some friends together in the spring to experiment with singing, isolated in their cars, their voices connected by wireless microphones attached to a mixer.\u003c/p>\n\u003cp>After some thinking, a lightbulb went off: attach an FM transmitter to the mixer. That allowed the singers’ voices to be broadcast back into their cars through the radio, without a discernable delay.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CPD7kxrO03w\" target=\"_blank\" rel=\"noopener noreferrer\">His YouTube videos\u003c/a> about the process caught the attention of many singers and choir leaders. Newman figures about 20 choirs are using their cars and car radios for rehearsals—including Luminous Voices. The ensemble’s founder and conductor, Tim Shantz, says this new way of singing together filled a void.\u003c/p>\n\u003cfigure id=\"attachment_13890994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_5338-20201004_wide-73b763ed99dd2a8053b3fb3bcd819696317b5fb7-800x450.jpg\" alt=\"Shantz conducts Luminous Voices' first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Shantz conducts Luminous Voices’ first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\u003c/figcaption>\u003c/figure>\n\u003cp>“For us not to be able to [sing together], it’s like a whole part of our soul is sort of taken out. And we need to find ways to somehow fill that gap,” Shantz tells NPR.\u003c/p>\n\u003cp>In addition to using the system for rehearsals, Luminous Voices has also performed two car concerts. Shantz estimates about 200 people attended \u003ca href=\"https://www.youtube.com/watch?v=puV3Aeu4P5Y\" target=\"_blank\" rel=\"noopener noreferrer\">one in December\u003c/a>, all in their cars. Audience members gathered in a parking lot and tuned in to the performance on their radios. Instead of clapping, audience members honked horns.\u003c/p>\n\u003cp>For Shantz, those concerts were as much about the audience as the singers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not just about the performers and satisfying something for us. But there was this element of ‘Wow, the participation of an audience really brought the whole experience to the fore,’ ” Shantz says. “And you realize the importance of performing arts.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Car+Concerts+Offer+Choirs+A+Way+To+Rehearse+And+Perform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 459,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705019669,
"excerpt": "This car choir uses microphones, a mixer, an FM transmitter and car radios. Baritone David Newman came up with the solution.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This car choir uses microphones, a mixer, an FM transmitter and car radios. Baritone David Newman came up with the solution.",
"title": "Car Concerts Offer Choirs a Way to Rehearse and Perform | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Car Concerts Offer Choirs a Way to Rehearse and Perform",
"datePublished": "2021-01-11T11:12:13-08:00",
"dateModified": "2024-01-11T16:34:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "car-concerts-offer-choirs-a-way-to-rehearse-and-perform",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=954007807&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 11 Jan 2021 05:07:00 -0500",
"nprLastModifiedDate": "Mon, 11 Jan 2021 10:51:51 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/11/954007807/car-concerts-offer-choirs-a-way-to-rehearse-and-perform?ft=nprml&f=954007807",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/01/20210111_me_car_concerts_offer_choirs_a_way_to_rehearse_and_perform.mp3?orgId=1&topicId=1008&aggIds=812054919&d=120&p=3&story=954007807&ft=nprml&f=954007807",
"nprImageAgency": "Kenton Smith",
"nprAudioM3u": "http://api.npr.org/m3u/1955557355-c3077b.m3u?orgId=1&topicId=1008&aggIds=812054919&d=120&p=3&story=954007807&ft=nprml&f=954007807",
"nprStoryId": "954007807",
"nprByline": "Nina Kravinsky",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 11 Jan 2021 10:51:00 -0500",
"path": "/arts/13890992/car-concerts-offer-choirs-a-way-to-rehearse-and-perform",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/01/20210111_me_car_concerts_offer_choirs_a_way_to_rehearse_and_perform.mp3?orgId=1&topicId=1008&aggIds=812054919&d=120&p=3&story=954007807&ft=nprml&f=954007807",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For members of Luminous Voices, a professional choir ensemble in Alberta, Canada, rehearsing and performing safely during the pandemic has meant getting into their cars, driving to an empty parking lot and singing with each other’s voices broadcast through their car radios.\u003c/p>\n\u003cp>This “car choir” solution is one that college music professor David Newman—an accomplished baritone himself in Virginia—came up with so that ensembles could sing and “be” together.\u003c/p>\n\u003cp>“All I saw on my Facebook feed was friends either bemoaning the fact that we couldn’t sing together at all, or saying ‘Singing together is too important and we just have to do it no matter what,’ ” Newman tells NPR. “And I thought, neither of those is a good answer.”\u003c/p>\n\u003cp>Newman’s method uses a few simple tools—microphones, a mixer and an FM transmitter.\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/yjL5TjO_Hhs'\n title='//www.youtube.com/embed/yjL5TjO_Hhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He started by getting some friends together in the spring to experiment with singing, isolated in their cars, their voices connected by wireless microphones attached to a mixer.\u003c/p>\n\u003cp>After some thinking, a lightbulb went off: attach an FM transmitter to the mixer. That allowed the singers’ voices to be broadcast back into their cars through the radio, without a discernable delay.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CPD7kxrO03w\" target=\"_blank\" rel=\"noopener noreferrer\">His YouTube videos\u003c/a> about the process caught the attention of many singers and choir leaders. Newman figures about 20 choirs are using their cars and car radios for rehearsals—including Luminous Voices. The ensemble’s founder and conductor, Tim Shantz, says this new way of singing together filled a void.\u003c/p>\n\u003cfigure id=\"attachment_13890994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_5338-20201004_wide-73b763ed99dd2a8053b3fb3bcd819696317b5fb7-800x450.jpg\" alt=\"Shantz conducts Luminous Voices' first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Shantz conducts Luminous Voices’ first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\u003c/figcaption>\u003c/figure>\n\u003cp>“For us not to be able to [sing together], it’s like a whole part of our soul is sort of taken out. And we need to find ways to somehow fill that gap,” Shantz tells NPR.\u003c/p>\n\u003cp>In addition to using the system for rehearsals, Luminous Voices has also performed two car concerts. Shantz estimates about 200 people attended \u003ca href=\"https://www.youtube.com/watch?v=puV3Aeu4P5Y\" target=\"_blank\" rel=\"noopener noreferrer\">one in December\u003c/a>, all in their cars. Audience members gathered in a parking lot and tuned in to the performance on their radios. Instead of clapping, audience members honked horns.\u003c/p>\n\u003cp>For Shantz, those concerts were as much about the audience as the singers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not just about the performers and satisfying something for us. But there was this element of ‘Wow, the participation of an audience really brought the whole experience to the fore,’ ” Shantz says. “And you realize the importance of performing arts.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Car+Concerts+Offer+Choirs+A+Way+To+Rehearse+And+Perform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890992/car-concerts-offer-choirs-a-way-to-rehearse-and-perform",
"authors": [
"byline_arts_13890992"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10126",
"arts_10416"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890993",
"label": "arts_137"
},
"arts_13890984": {
"type": "posts",
"id": "arts_13890984",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890984",
"score": null,
"sort": [
1610146614000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1610146614,
"format": "standard",
"title": "Tracy Chapman Wins Lawsuit Against Nicki Minaj",
"headTitle": "Tracy Chapman Wins Lawsuit Against Nicki Minaj | KQED",
"content": "\u003cp>Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman’s claims that Minaj took her work without permission.\u003c/p>\n\u003cp>According to documents filed in California’s federal Central District Court on Thursday, Chapman has accepted Minaj’s offer of judgment in the case, and she will receive $450,000 from Minaj. As a result, the two have avoided going to trial.\u003c/p>\n\u003cp>Chapman originally filed her lawsuit in Oct. 2018, saying that Minaj’s song “\u003ca href=\"https://www.youtube.com/watch?v=hDCSFXhZlm8\" target=\"_blank\" rel=\"noopener noreferrer\">Sorry\u003c/a>,” a collaboration with Nas, used both the lyrics and vocal melody from one of Chapman’s songs, “Baby Can I Hold You,” which was released in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqoLMGSBGYc\u003c/p>\n\u003cp>According to Chapman’s suit, Minaj’s team sent a formal request in July 2018 to use Chapman’s song, noting that Minaj intended to “interpolate” Chapman’s work (that is, re-record the melody and lyrics of the song, rather than sample Chapman’s existing recording). Chapman’s publishing representatives turned down the request days later. According to the suit, Chapman believes that Minaj had already recorded “Sorry” before the clearance request was made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chapman said in her original filing that Minaj’s representatives seemed to already have been aware that Chapman would probably be loathe to OK the arrangement even before they sent the formal request. Weeks before, at the end of June, a music clearance company called DMG sent Chapman’s representatives an exploratory note, allegedly saying that an “A list artist” wanted to use “Baby Can I Hold You,” and asking if Chapman remained on an unofficial “do not sample or interpolate” list. [aside postid='arts_13888864']\u003c/p>\n\u003cp>In a since-deleted tweet posted at the end of July 2018, Minaj wrote that she had “no clue” that her song used “the legend” Chapman’s work, asking her fans: “Do I keep my [release] date & lose the record? Or do I lose the record & keep my date? … Ugh! I’m torn, y’all help.” Separately, she also tweeted to Chapman, asking her for clearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, “Sorry” was not included on Minaj’s album, \u003cem>Queen\u003c/em>, which was released less than a month after her formal request to use the Chapman material—and Minaj’s song leaked anyway, both onto HOT 97 radio in New York via DJ Funkmaster Flex and online.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tracy+Chapman+Wins+Lawsuit+Against+Nicki+Minaj&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 443,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705019670,
"excerpt": "Minaj will pay Chapman $450,000 after re-recording the lyrics and melody of \"Baby Can I Hold You\" without permission.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Minaj will pay Chapman $450,000 after re-recording the lyrics and melody of "Baby Can I Hold You" without permission.",
"title": "Tracy Chapman Wins Lawsuit Against Nicki Minaj | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tracy Chapman Wins Lawsuit Against Nicki Minaj",
"datePublished": "2021-01-08T14:56:54-08:00",
"dateModified": "2024-01-11T16:34:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tracy-chapman-wins-lawsuit-against-nicki-minaj",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=954853692&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 08 Jan 2021 13:39:07 -0500",
"nprLastModifiedDate": "Fri, 08 Jan 2021 15:57:48 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/08/954853692/tracy-chapman-wins-lawsuit-against-nicki-minaj?ft=nprml&f=954853692",
"nprImageAgency": "AFP via Getty Images",
"nprStoryId": "954853692",
"nprByline": "Anastasia Tsioulcas",
"sticky": false,
"nprImageCredit": "Andre Durand",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 08 Jan 2021 15:57:00 -0500",
"path": "/arts/13890984/tracy-chapman-wins-lawsuit-against-nicki-minaj",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman’s claims that Minaj took her work without permission.\u003c/p>\n\u003cp>According to documents filed in California’s federal Central District Court on Thursday, Chapman has accepted Minaj’s offer of judgment in the case, and she will receive $450,000 from Minaj. As a result, the two have avoided going to trial.\u003c/p>\n\u003cp>Chapman originally filed her lawsuit in Oct. 2018, saying that Minaj’s song “\u003ca href=\"https://www.youtube.com/watch?v=hDCSFXhZlm8\" target=\"_blank\" rel=\"noopener noreferrer\">Sorry\u003c/a>,” a collaboration with Nas, used both the lyrics and vocal melody from one of Chapman’s songs, “Baby Can I Hold You,” which was released in 1998.\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/DqoLMGSBGYc'\n title='//www.youtube.com/embed/DqoLMGSBGYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to Chapman’s suit, Minaj’s team sent a formal request in July 2018 to use Chapman’s song, noting that Minaj intended to “interpolate” Chapman’s work (that is, re-record the melody and lyrics of the song, rather than sample Chapman’s existing recording). Chapman’s publishing representatives turned down the request days later. According to the suit, Chapman believes that Minaj had already recorded “Sorry” before the clearance request was made.\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>Chapman said in her original filing that Minaj’s representatives seemed to already have been aware that Chapman would probably be loathe to OK the arrangement even before they sent the formal request. Weeks before, at the end of June, a music clearance company called DMG sent Chapman’s representatives an exploratory note, allegedly saying that an “A list artist” wanted to use “Baby Can I Hold You,” and asking if Chapman remained on an unofficial “do not sample or interpolate” list. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13888864",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a since-deleted tweet posted at the end of July 2018, Minaj wrote that she had “no clue” that her song used “the legend” Chapman’s work, asking her fans: “Do I keep my [release] date & lose the record? Or do I lose the record & keep my date? … Ugh! I’m torn, y’all help.” Separately, she also tweeted to Chapman, asking her for clearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, “Sorry” was not included on Minaj’s album, \u003cem>Queen\u003c/em>, which was released less than a month after her formal request to use the Chapman material—and Minaj’s song leaked anyway, both onto HOT 97 radio in New York via DJ Funkmaster Flex and online.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tracy+Chapman+Wins+Lawsuit+Against+Nicki+Minaj&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890984/tracy-chapman-wins-lawsuit-against-nicki-minaj",
"authors": [
"byline_arts_13890984"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_11323",
"arts_831"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890985",
"label": "arts_137"
},
"arts_13890968": {
"type": "posts",
"id": "arts_13890968",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890968",
"score": null,
"sort": [
1610132441000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1610132441,
"format": "standard",
"title": "His Vaccine Story Inspired His Father to Write a Disney Classic",
"headTitle": "His Vaccine Story Inspired His Father to Write a Disney Classic | KQED",
"content": "\u003cp>Before Julie Andrews first sang “A Spoonful of Sugar,” its songwriter found inspiration for the iconic \u003cem>Mary Poppins\u003c/em> tune in an unlikely place.\u003c/p>\n\u003cp>The late Robert B. Sherman wrote it with his brother, Richard; many of the duo’s songs are featured in classic Walt Disney films. At StoryCorps last month, Robert’s son, Jeffrey, said that it was telling his father about getting the polio vaccine as a child that sparked the lyrics for the famous song.\u003c/p>\n\u003cp>Jeffrey, now 63, said his dad had a way with words.\u003c/p>\n\u003cp>“My dad always filtered everything down to its simplest form,” he said.\u003c/p>\n\u003cp>“People thought maybe he wasn’t listening, but he would always listen. And then he would form his words very carefully. … He wanted to just know words and he loved the sound of words and how they felt on your tongue.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ftxnr28LDXc\u003c/p>\n\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 589,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705019674,
"excerpt": "As a kid, Jeffrey Sherman told his dad about getting a polio vaccine. It sparked Robert Sherman to craft \"A Spoonful of Sugar.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As a kid, Jeffrey Sherman told his dad about getting a polio vaccine. It sparked Robert Sherman to craft "A Spoonful of Sugar."",
"title": "His Vaccine Story Inspired His Father to Write a Disney Classic | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "His Vaccine Story Inspired His Father to Write a Disney Classic",
"datePublished": "2021-01-08T11:00:41-08:00",
"dateModified": "2024-01-11T16:34:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "his-vaccine-story-inspired-his-father-to-write-a-disney-classic",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=954413533&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 08 Jan 2021 05:06:00 -0500",
"nprLastModifiedDate": "Fri, 08 Jan 2021 09:13:30 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/08/954413533/his-vaccine-story-inspired-his-father-to-write-a-disney-classic?ft=nprml&f=954413533",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/01/20210108_me_his_vaccine_story_inspired_his_father_to_write_a_disney_classic.mp3?orgId=1&topicId=1003&aggIds=4516989&d=171&p=3&story=954413533&ft=nprml&f=954413533",
"nprImageAgency": "Jeffrey Sherman",
"nprAudioM3u": "http://api.npr.org/m3u/1954788713-96983d.m3u?orgId=1&topicId=1003&aggIds=4516989&d=171&p=3&story=954413533&ft=nprml&f=954413533",
"nprStoryId": "954413533",
"nprByline": "Jo Corona",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 08 Jan 2021 11:01:00 -0500",
"path": "/arts/13890968/his-vaccine-story-inspired-his-father-to-write-a-disney-classic",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/01/20210108_me_his_vaccine_story_inspired_his_father_to_write_a_disney_classic.mp3?orgId=1&topicId=1003&aggIds=4516989&d=171&p=3&story=954413533&ft=nprml&f=954413533",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Julie Andrews first sang “A Spoonful of Sugar,” its songwriter found inspiration for the iconic \u003cem>Mary Poppins\u003c/em> tune in an unlikely place.\u003c/p>\n\u003cp>The late Robert B. Sherman wrote it with his brother, Richard; many of the duo’s songs are featured in classic Walt Disney films. At StoryCorps last month, Robert’s son, Jeffrey, said that it was telling his father about getting the polio vaccine as a child that sparked the lyrics for the famous song.\u003c/p>\n\u003cp>Jeffrey, now 63, said his dad had a way with words.\u003c/p>\n\u003cp>“My dad always filtered everything down to its simplest form,” he said.\u003c/p>\n\u003cp>“People thought maybe he wasn’t listening, but he would always listen. And then he would form his words very carefully. … He wanted to just know words and he loved the sound of words and how they felt on your tongue.”\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 his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\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/ftxnr28LDXc'\n title='//www.youtube.com/embed/ftxnr28LDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890968/his-vaccine-story-inspired-his-father-to-write-a-disney-classic",
"authors": [
"byline_arts_13890968"
],
"categories": [
"arts_1",
"arts_74",
"arts_69"
],
"tags": [
"arts_3114"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890974",
"label": "arts_137"
},
"arts_13890905": {
"type": "posts",
"id": "arts_13890905",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890905",
"score": null,
"sort": [
1610060828000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1610060828,
"format": "standard",
"title": "A Biden Cabinet Secretary For Arts? Advocates Are Hopeful",
"headTitle": "A Biden Cabinet Secretary For Arts? Advocates Are Hopeful | KQED",
"content": "\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” [aside postid='arts_13890625']\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” [aside postid='arts_13890207']\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. [aside postid='arts_13888399']\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1108,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705019680,
"excerpt": "The arts employ nearly five million people in America. After Trump's mixed record of support, will anything change under Biden?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The arts employ nearly five million people in America. After Trump's mixed record of support, will anything change under Biden?",
"title": "A Biden Cabinet Secretary For Arts? Advocates Are Hopeful | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Biden Cabinet Secretary For Arts? Advocates Are Hopeful",
"datePublished": "2021-01-07T15:07:08-08:00",
"dateModified": "2024-01-11T16:34:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-biden-cabinet-secretary-for-arts-advocates-are-hopeful",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=953937793&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 07 Jan 2021 16:03:00 -0500",
"nprLastModifiedDate": "Thu, 07 Jan 2021 16:32:45 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/07/953937793/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful?ft=nprml&f=953937793",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/01/20210107_atc_a_biden_cabinet_secretary_for_arts_advocates_are_hopeful.mp3?orgId=1&topicId=1008&d=331&p=2&story=953937793&ft=nprml&f=953937793",
"nprImageAgency": "Ann Arnold-Ogden",
"nprAudioM3u": "http://api.npr.org/m3u/1954562194-fda8b1.m3u?orgId=1&topicId=1008&d=331&p=2&story=953937793&ft=nprml&f=953937793",
"nprStoryId": "953937793",
"nprByline": "Elizabeth Blair",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 07 Jan 2021 16:06:00 -0500",
"path": "/arts/13890905/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/01/20210107_atc_a_biden_cabinet_secretary_for_arts_advocates_are_hopeful.mp3?orgId=1&topicId=1008&d=331&p=2&story=953937793&ft=nprml&f=953937793",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13890625",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13890207",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13888399",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\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>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890905/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful",
"authors": [
"byline_arts_13890905"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1753",
"arts_7072",
"arts_1730"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890906",
"label": "arts_137"
},
"arts_13890865": {
"type": "posts",
"id": "arts_13890865",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890865",
"score": null,
"sort": [
1609964338000
]
},
"guestAuthors": [],
"slug": "outlawed-the-handmaids-tale-meets-butch-cassidy-in-this-smart-western",
"title": "'Outlawed': 'The Handmaid's Tale' meets 'Butch Cassidy' in This Smart Western",
"publishDate": 1609964338,
"format": "standard",
"headTitle": "‘Outlawed’: ‘The Handmaid’s Tale’ meets ‘Butch Cassidy’ in This Smart Western | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Talking to friends this past week, I’ve described Anna North’s new novel, \u003cem>Outlawed\u003c/em>, as \u003cem>The Handmaid’s Tale\u003c/em> meets \u003cem>Butch Cassidy and the Sundance Kid\u003c/em>. That’s a glib tagline, but there’s some justification for it.\u003c/p>\n\u003cp>\u003cem>Outlawed \u003c/em>opens in an alternative America of 1894 that was torn asunder by a flu epidemic some 60 years earlier. West of the Mississippi, centralized government has been replaced by a patchwork of Independent Towns. One of the few things this fragmented America agrees on is that women are put on Earth to bear children. That’s it. And, because too much knowledge, especially medical knowledge of women’s bodies, is frowned upon, “barren” women are regarded as freaks of nature, witches; they’re ostracized, imprisoned and sometimes put to death.\u003c/p>\n\u003cp>That status quo is pretty much okay with the heroine of \u003cem>Outlawed\u003c/em>, a 17-year-old woman named Ada. She’s content to be married off to a man chosen for her and settles in to await her first pregnancy—which fails to happen. In less than a year, Ada is expelled from her husband’s house and, after a few twists of fate, joins up with the infamous Hole in the Wall Gang.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890875 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png\" alt=\"\" width=\"384\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM-160x238.png 160w\" sizes=\"auto, (max-width: 384px) 100vw, 384px\">\u003c/p>\n\u003cp>In North’s novel, that real-life band of 19th-century gunslingers is reimagined as a group of outlaws who identify as female or non-binary. They’re led by a messianic figure called “The Kid.” In finding a home with the gang, Ada comes to realize that sexual desire can roam as wide and free as deer and buffalo on the range.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Outlawed\u003c/em>, in this quick summary, can sound gimmicky, but there’s much more going on in this smart adventure tale than just a sly upending of the traditional Western, rooted in macho individualism and violence. For all the ways North ingeniously stretches the limits of the genre, she’s also clearly a fan. She doesn’t shy away from the expected gunfights and her rendering of such scenes is jittery and absorbing; but, North also dwells on the bloody aftermath of these shootouts and the damage that bullets do to the body. [aside postid='arts_13831050']\u003c/p>\n\u003cp>In common with writers of classic Westerns, North also evokes the rugged landscape of the West, especially the area around the gang’s hideout with its salt flats, prairie dog burrows, and notched “wall of bright red rock many stories high” that gives The Hole in the Wall Gang its name. It’s there that the final showdown between the gang and the posse of lawmen who are pursuing them will take place.\u003c/p>\n\u003cp>Most of all, though, it’s the affecting character of Ada who’s the steady draw here. Once Fate tosses her out of her complacent life, Ada, in the time-honored tradition of the Western, becomes a hunter. Like Mattie Ross in\u003cem> True Grit\u003c/em> or, dare I say Ethan Edwards, in the vexed John Ford film, \u003cem>The Searchers\u003c/em>, Ada is on the trail, not of someone, but of something. She wants medical knowledge of women’s bodies.\u003c/p>\n\u003cp>Ada joins the gang for protection, but also to get loot from the hold-ups to be able to travel and study with a master midwife she’s heard about, a woman who practices farther west. Ada aims to save other infertile women from being ostracized or murdered. There’s a moment, after she settles in with the gang, when Ada almost decides to stay put. She tells us:\u003c/p>\n\u003cblockquote>\u003cp>I saw how the valley, now blooming into beauty after the long winter, could feel like home. What I had planned instead was so amorphous and uncertain. …\u003c/p>\n\u003cp>But if I stayed in the valley, I would learn no more about myself or people like me than I had known when I left … I would die without knowing what made me the way I was.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The heroes of the traditional Western were always sure about what made them the way they were; what made a man a man. For Ada and the other “outlaws” of this spirited novel, the frontiers of gender and sexuality beckon to be explored.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Outlawed%27+Frontiers+Of+Gender+And+Sexuality+Beckon+In+This+Sly+Western&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"blocks": [],
"excerpt": "Anna North's novel is a sly adventure that upends the traditional Western to examine the frontiers of gender and sexuality.",
"status": "publish",
"parent": 0,
"modified": 1741366932,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 733
},
"headData": {
"title": "'Outlawed': 'The Handmaid's Tale' meets 'Butch Cassidy' in This Smart Western | KQED",
"description": "Anna North's novel is a sly adventure that upends the traditional Western to examine the frontiers of gender and sexuality.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Outlawed': 'The Handmaid's Tale' meets 'Butch Cassidy' in This Smart Western",
"datePublished": "2021-01-06T12:18:58-08:00",
"dateModified": "2025-03-07T09:02:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Maureen Corrigan",
"nprImageAgency": "Bloomsbury",
"nprStoryId": "953573503",
"nprApiLink": "http://api.npr.org/query?id=953573503&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2021/01/06/953573503/outlawed-frontiers-of-gender-and-sexuality-beckon-in-this-sly-western?ft=nprml&f=953573503",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 06 Jan 2021 14:42:00 -0500",
"nprStoryDate": "Wed, 06 Jan 2021 10:09:55 -0500",
"nprLastModifiedDate": "Wed, 06 Jan 2021 10:16:32 -0500",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210106_fa_02.mp3?orgId=427869011&topicId=1034&d=351&p=13&story=953573503&ft=nprml&f=953573503",
"nprAudioM3u": "http://api.npr.org/m3u/1954046322-53d125.m3u?orgId=427869011&topicId=1034&d=351&p=13&story=953573503&ft=nprml&f=953573503",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13890865/outlawed-the-handmaids-tale-meets-butch-cassidy-in-this-smart-western",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210106_fa_02.mp3?orgId=427869011&topicId=1034&d=351&p=13&story=953573503&ft=nprml&f=953573503",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Talking to friends this past week, I’ve described Anna North’s new novel, \u003cem>Outlawed\u003c/em>, as \u003cem>The Handmaid’s Tale\u003c/em> meets \u003cem>Butch Cassidy and the Sundance Kid\u003c/em>. That’s a glib tagline, but there’s some justification for it.\u003c/p>\n\u003cp>\u003cem>Outlawed \u003c/em>opens in an alternative America of 1894 that was torn asunder by a flu epidemic some 60 years earlier. West of the Mississippi, centralized government has been replaced by a patchwork of Independent Towns. One of the few things this fragmented America agrees on is that women are put on Earth to bear children. That’s it. And, because too much knowledge, especially medical knowledge of women’s bodies, is frowned upon, “barren” women are regarded as freaks of nature, witches; they’re ostracized, imprisoned and sometimes put to death.\u003c/p>\n\u003cp>That status quo is pretty much okay with the heroine of \u003cem>Outlawed\u003c/em>, a 17-year-old woman named Ada. She’s content to be married off to a man chosen for her and settles in to await her first pregnancy—which fails to happen. In less than a year, Ada is expelled from her husband’s house and, after a few twists of fate, joins up with the infamous Hole in the Wall Gang.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890875 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png\" alt=\"\" width=\"384\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM-160x238.png 160w\" sizes=\"auto, (max-width: 384px) 100vw, 384px\">\u003c/p>\n\u003cp>In North’s novel, that real-life band of 19th-century gunslingers is reimagined as a group of outlaws who identify as female or non-binary. They’re led by a messianic figure called “The Kid.” In finding a home with the gang, Ada comes to realize that sexual desire can roam as wide and free as deer and buffalo on the range.\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>Outlawed\u003c/em>, in this quick summary, can sound gimmicky, but there’s much more going on in this smart adventure tale than just a sly upending of the traditional Western, rooted in macho individualism and violence. For all the ways North ingeniously stretches the limits of the genre, she’s also clearly a fan. She doesn’t shy away from the expected gunfights and her rendering of such scenes is jittery and absorbing; but, North also dwells on the bloody aftermath of these shootouts and the damage that bullets do to the body. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13831050",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In common with writers of classic Westerns, North also evokes the rugged landscape of the West, especially the area around the gang’s hideout with its salt flats, prairie dog burrows, and notched “wall of bright red rock many stories high” that gives The Hole in the Wall Gang its name. It’s there that the final showdown between the gang and the posse of lawmen who are pursuing them will take place.\u003c/p>\n\u003cp>Most of all, though, it’s the affecting character of Ada who’s the steady draw here. Once Fate tosses her out of her complacent life, Ada, in the time-honored tradition of the Western, becomes a hunter. Like Mattie Ross in\u003cem> True Grit\u003c/em> or, dare I say Ethan Edwards, in the vexed John Ford film, \u003cem>The Searchers\u003c/em>, Ada is on the trail, not of someone, but of something. She wants medical knowledge of women’s bodies.\u003c/p>\n\u003cp>Ada joins the gang for protection, but also to get loot from the hold-ups to be able to travel and study with a master midwife she’s heard about, a woman who practices farther west. Ada aims to save other infertile women from being ostracized or murdered. There’s a moment, after she settles in with the gang, when Ada almost decides to stay put. She tells us:\u003c/p>\n\u003cblockquote>\u003cp>I saw how the valley, now blooming into beauty after the long winter, could feel like home. What I had planned instead was so amorphous and uncertain. …\u003c/p>\n\u003cp>But if I stayed in the valley, I would learn no more about myself or people like me than I had known when I left … I would die without knowing what made me the way I was.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The heroes of the traditional Western were always sure about what made them the way they were; what made a man a man. For Ada and the other “outlaws” of this spirited novel, the frontiers of gender and sexuality beckon to be explored.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Outlawed%27+Frontiers+Of+Gender+And+Sexuality+Beckon+In+This+Sly+Western&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890865/outlawed-the-handmaids-tale-meets-butch-cassidy-in-this-smart-western",
"authors": [
"byline_arts_13890865"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_3226"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890874",
"label": "arts_137"
},
"arts_13890846": {
"type": "posts",
"id": "arts_13890846",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890846",
"score": null,
"sort": [
1609881933000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1609881933,
"format": "standard",
"title": "'Exercised' Busts Myths About Working Out—And Explains Why We Should",
"headTitle": "‘Exercised’ Busts Myths About Working Out—And Explains Why We Should | KQED",
"content": "\u003cp>How many steps do you walk each day?\u003c/p>\n\u003cp>If you live in the U.S. and can claim more than 4,774 steps daily, you’re exceeding the average American’s total. Comparable figures from England and Japan are 5,444 and 6,010 daily steps, respectively—with this info derived from cellphone data.\u003c/p>\n\u003cp>The distance that individuals walk daily varies, with a host of factors affecting the total, including where you live, what work you do and whether you are able to walk at all. In a riveting book published Tuesday, \u003cem>Exercised: Why Something We Never Evolved to Do is Healthy and Rewarding\u003c/em>, Harvard University evolutionary biologist Daniel E. Lieberman cites the step data to make a point. Many of us today are fairly inactive (under 5,000 steps is defined as “sedentary”), so much so that our activity levels are mismatched with the way we evolved.\u003c/p>\n\u003cp>Exercise can be understood as “discretionary, planned physical activity for the sake of physical improvement.” In other words, when we work out, we set aside time to exercise and do it because we have goals related to better bodies and better health. [aside postid='arts_13817884']\u003c/p>\n\u003cp>Our ancestors never did any such thing. Certainly, they moved a lot in the course of their daily lives. We know this because the hunter-gatherer lifestyle—making a living off the land, without farming—demands it, and also because data from contemporary hunter-gatherers like the Hadza Indigenous people of Tanzania give us some clues to past activity patterns. Hadza individuals are about 12 times more active than the average American or European. Elderly people remain highly active, as they must have in the past. “Almost no one in the Stone Age,” Lieberman notes, “least of all grandparents, managed to avoid hours of walking, running, digging, climbing, and other manual labors.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet, here’s the central point: There was no exercise in the Stone Age! People had high activity levels simply because that’s how it was possible to survive by hunting and gathering.\u003c/p>\n\u003cp>With that distinction in place, Lieberman begins a process of myth-busting about exercise. Some exercise enthusiasts, he writes, insist that “we were \u003cem>born \u003c/em>to exercise because for millions of years our hunter-gatherer ancestors survived through walking, running, climbing, and other physical activities.” On the contrary—and here comes a surprising but scientifically sensible statement—we evolved to limit our physical activity whenever we reasonably could. With all the survival tasks requiring our energy, the last thing needed ancestrally was to set aside time to work out.\u003c/p>\n\u003cfigure id=\"attachment_13890847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg\" alt=\"The cover of 'Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,' by Daniel E. Lieberman.\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1339x2048.jpg 1339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c.jpg 1643w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,’ by Daniel E. Lieberman. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An irresistible aspect of \u003cem>Exercised \u003c/em>is Lieberman’s firm stance that no shame or stigma be attached to those who find it challenging to sustain an exercise program: “So if, as you read these words, you are seated in a chair or lounging in bed and feeling guilty about your indolence, take solace in knowing that your current state of physical inactivity is an ancient, fundamental strategy to allocate scarce energy sensibly.”\u003c/p>\n\u003cp>Indolence is not \u003cem>good \u003c/em>for us, of course. Sitting for long hours, for instance, encourages inflammation throughout the body and is associated with chronic disease. This is especially true of the way we tend to sit in our culture—on a chair—compared to cultural traditions of squatting, kneeling or sitting on the ground, which causes the muscles to be more highly active. Yet if you’re attached to your chair or couch, all is not lost: In one study, in which participants interrupted their sitting with just 100 seconds of movement every half-hour, the result was lower blood levels of sugar, fat and bad cholesterol.\u003c/p>\n\u003cp>Another exceptionally informative part of the book discusses the damage-and-repair cycle brought on by exercise. Lieberman explains more clearly than I’ve ever read what exercise does to the body and how the body then begins to repair itself afterwards. Briefly put, exercise unleashes a flood of waste products and unstable oxygen molecules that compromise cells’ function. Following a workout, the body slowly begins to repair the damage, through a suite of anti-inflammatory and cleanup responses. Often, this repair process works so well that it leads to a state of better health in the body overall.\u003c/p>\n\u003cp>This beneficial process evolved in an evolutionary context of physical activity, as carried out by our ancestors. Thus, repair today \u003cem>does not happen efficiently if you are sedentary\u003c/em>: “We never evolved to activate these maintenance and repair responses as effectively in the absence of regular physical activity.” Additionally, an increase in BDNF (brain-derived neurotrophic factor) that helps protect our brains against Alzheimer’s disease increases with physical effort, for the same evolutionary reason. Insights like these alone make reading the book worthwhile.\u003c/p>\n\u003cp>To integrate exercise into our lives in sustained fun ways is a goal we should all have, Lieberman says, though he appropriately explains that certain disabilities may make this difficult or impossible. We can bring this about by exercising socially, for example; our species is gregarious by nature and many people enjoy collective activity, plus, if we commit to an exercise meetup, we’re less likely to succumb to that urge not to exercise. (The book was mostly written before the COVID-19 pandemic forced temporary suspension of shared exercise activities in the name of good public health.) [aside postid='pop_113275']\u003c/p>\n\u003cp>The oft-cited recommendation to exercise 150 minutes a week Lieberman doesn’t discount, but he emphasizes there’s no optimal routine of exercise type or quantity because we all have different bodies and circumstances. A good across-the-board summary is this: “Make exercise necessary and fun. Do mostly cardio, but also some weights. Some is better than none. Keep it up as you age.”\u003c/p>\n\u003cp>\u003cem>Exercised\u003c/em> is written in a warm, sometimes dryly amusing tone that’s highly appealing. Colorful personal stories enliven the book. Follow along as Lieberman accompanies two Hadza men on a hunt, rides a dog sled across icy terrain Greenland and tries to outrun a horse in a race in Arizona.\u003c/p>\n\u003cp>Lieberman makes a superb guide for anyone wishing to understand why it can be hard to commit to exercising and why we should do it anyway.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Barbara J. King is a biological anthropologist emerita at William & Mary. Her seventh book, \u003c/em>Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity and in the Wild\u003cem>, will be published in March. Find her on Twitter \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@bjkingape\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Exercised%27+Explains+Why+It+Can+Be+Hard+To+Commit+To+Working+Out+%E2%80%94+And+Why+We+Should&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1138,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019685,
"excerpt": "Harvard's Daniel Lieberman examines exercise from an evolutionary, entertaining and refreshingly shame-free point of view.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Harvard's Daniel Lieberman examines exercise from an evolutionary, entertaining and refreshingly shame-free point of view.",
"title": "'Exercised' Busts Myths About Working Out—And Explains Why We Should | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Exercised' Busts Myths About Working Out—And Explains Why We Should",
"datePublished": "2021-01-05T13:25:33-08:00",
"dateModified": "2024-01-11T16:34:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "exercised-busts-myths-about-working-out-and-explains-why-we-should",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=953249677&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Barbara J. King",
"nprStoryDate": "Tue, 05 Jan 2021 05:56:00 -0500",
"nprLastModifiedDate": "Tue, 05 Jan 2021 10:29:20 -0500",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2021/01/05/953249677/exercised-explains-why-it-can-be-hard-to-commit-to-working-out-and-why-we-should?ft=nprml&f=953249677",
"nprImageAgency": "Pantheon",
"nprStoryId": "953249677",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 05 Jan 2021 10:29:00 -0500",
"path": "/arts/13890846/exercised-busts-myths-about-working-out-and-explains-why-we-should",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How many steps do you walk each day?\u003c/p>\n\u003cp>If you live in the U.S. and can claim more than 4,774 steps daily, you’re exceeding the average American’s total. Comparable figures from England and Japan are 5,444 and 6,010 daily steps, respectively—with this info derived from cellphone data.\u003c/p>\n\u003cp>The distance that individuals walk daily varies, with a host of factors affecting the total, including where you live, what work you do and whether you are able to walk at all. In a riveting book published Tuesday, \u003cem>Exercised: Why Something We Never Evolved to Do is Healthy and Rewarding\u003c/em>, Harvard University evolutionary biologist Daniel E. Lieberman cites the step data to make a point. Many of us today are fairly inactive (under 5,000 steps is defined as “sedentary”), so much so that our activity levels are mismatched with the way we evolved.\u003c/p>\n\u003cp>Exercise can be understood as “discretionary, planned physical activity for the sake of physical improvement.” In other words, when we work out, we set aside time to exercise and do it because we have goals related to better bodies and better health. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13817884",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our ancestors never did any such thing. Certainly, they moved a lot in the course of their daily lives. We know this because the hunter-gatherer lifestyle—making a living off the land, without farming—demands it, and also because data from contemporary hunter-gatherers like the Hadza Indigenous people of Tanzania give us some clues to past activity patterns. Hadza individuals are about 12 times more active than the average American or European. Elderly people remain highly active, as they must have in the past. “Almost no one in the Stone Age,” Lieberman notes, “least of all grandparents, managed to avoid hours of walking, running, digging, climbing, and other manual labors.”\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>Yet, here’s the central point: There was no exercise in the Stone Age! People had high activity levels simply because that’s how it was possible to survive by hunting and gathering.\u003c/p>\n\u003cp>With that distinction in place, Lieberman begins a process of myth-busting about exercise. Some exercise enthusiasts, he writes, insist that “we were \u003cem>born \u003c/em>to exercise because for millions of years our hunter-gatherer ancestors survived through walking, running, climbing, and other physical activities.” On the contrary—and here comes a surprising but scientifically sensible statement—we evolved to limit our physical activity whenever we reasonably could. With all the survival tasks requiring our energy, the last thing needed ancestrally was to set aside time to work out.\u003c/p>\n\u003cfigure id=\"attachment_13890847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg\" alt=\"The cover of 'Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,' by Daniel E. Lieberman.\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1339x2048.jpg 1339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c.jpg 1643w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,’ by Daniel E. Lieberman. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An irresistible aspect of \u003cem>Exercised \u003c/em>is Lieberman’s firm stance that no shame or stigma be attached to those who find it challenging to sustain an exercise program: “So if, as you read these words, you are seated in a chair or lounging in bed and feeling guilty about your indolence, take solace in knowing that your current state of physical inactivity is an ancient, fundamental strategy to allocate scarce energy sensibly.”\u003c/p>\n\u003cp>Indolence is not \u003cem>good \u003c/em>for us, of course. Sitting for long hours, for instance, encourages inflammation throughout the body and is associated with chronic disease. This is especially true of the way we tend to sit in our culture—on a chair—compared to cultural traditions of squatting, kneeling or sitting on the ground, which causes the muscles to be more highly active. Yet if you’re attached to your chair or couch, all is not lost: In one study, in which participants interrupted their sitting with just 100 seconds of movement every half-hour, the result was lower blood levels of sugar, fat and bad cholesterol.\u003c/p>\n\u003cp>Another exceptionally informative part of the book discusses the damage-and-repair cycle brought on by exercise. Lieberman explains more clearly than I’ve ever read what exercise does to the body and how the body then begins to repair itself afterwards. Briefly put, exercise unleashes a flood of waste products and unstable oxygen molecules that compromise cells’ function. Following a workout, the body slowly begins to repair the damage, through a suite of anti-inflammatory and cleanup responses. Often, this repair process works so well that it leads to a state of better health in the body overall.\u003c/p>\n\u003cp>This beneficial process evolved in an evolutionary context of physical activity, as carried out by our ancestors. Thus, repair today \u003cem>does not happen efficiently if you are sedentary\u003c/em>: “We never evolved to activate these maintenance and repair responses as effectively in the absence of regular physical activity.” Additionally, an increase in BDNF (brain-derived neurotrophic factor) that helps protect our brains against Alzheimer’s disease increases with physical effort, for the same evolutionary reason. Insights like these alone make reading the book worthwhile.\u003c/p>\n\u003cp>To integrate exercise into our lives in sustained fun ways is a goal we should all have, Lieberman says, though he appropriately explains that certain disabilities may make this difficult or impossible. We can bring this about by exercising socially, for example; our species is gregarious by nature and many people enjoy collective activity, plus, if we commit to an exercise meetup, we’re less likely to succumb to that urge not to exercise. (The book was mostly written before the COVID-19 pandemic forced temporary suspension of shared exercise activities in the name of good public health.) \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_113275",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The oft-cited recommendation to exercise 150 minutes a week Lieberman doesn’t discount, but he emphasizes there’s no optimal routine of exercise type or quantity because we all have different bodies and circumstances. A good across-the-board summary is this: “Make exercise necessary and fun. Do mostly cardio, but also some weights. Some is better than none. Keep it up as you age.”\u003c/p>\n\u003cp>\u003cem>Exercised\u003c/em> is written in a warm, sometimes dryly amusing tone that’s highly appealing. Colorful personal stories enliven the book. Follow along as Lieberman accompanies two Hadza men on a hunt, rides a dog sled across icy terrain Greenland and tries to outrun a horse in a race in Arizona.\u003c/p>\n\u003cp>Lieberman makes a superb guide for anyone wishing to understand why it can be hard to commit to exercising and why we should do it anyway.\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>Barbara J. King is a biological anthropologist emerita at William & Mary. Her seventh book, \u003c/em>Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity and in the Wild\u003cem>, will be published in March. Find her on Twitter \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@bjkingape\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Exercised%27+Explains+Why+It+Can+Be+Hard+To+Commit+To+Working+Out+%E2%80%94+And+Why+We+Should&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890846/exercised-busts-myths-about-working-out-and-explains-why-we-should",
"authors": [
"byline_arts_13890846"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_4506"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890849",
"label": "arts_137"
},
"arts_13890831": {
"type": "posts",
"id": "arts_13890831",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890831",
"score": null,
"sort": [
1609878512000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1609878512,
"format": "standard",
"title": "As 'Mr. Mayor,' Ted Danson Sustains His Stellar Sitcom Streak",
"headTitle": "As ‘Mr. Mayor,’ Ted Danson Sustains His Stellar Sitcom Streak | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/2011/04/13/135247195/tina-fey-reveals-all-and-then-some-in-bossypants\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Fey\u003c/a> and Robert Carlock, the creators of NBC’s new sitcom \u003cem>Mr. Mayor\u003c/em>, were deep into the run of their hit \u003cem>30 Rock \u003c/em>when they came up with a promising idea for a spinoff. How about taking Jack Donaghy, the corporate executive played by \u003ca href=\"https://www.npr.org/2017/04/05/522712736/alec-baldwin-on-career-highs-and-lows-and-playing-a-larger-than-life-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin\u003c/a>, and have him run for mayor—and win?\u003c/p>\n\u003cp>That didn’t happen, and Baldwin ended up playing a much more powerful politician, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/12/514800509/melissa-mccarthys-spicey-and-alec-baldwins-trump-return-to-snl\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly and hilariously\u003c/a>, on Tina Fey’s old stomping grounds, \u003cem>Saturday Night Live. \u003c/em>[aside postid='pop_96840']\u003c/p>\n\u003cp>But that comic concept—of a celebrity mayor surrounded, and often defended by, an eager, yet weary, staff—was too good to let go. After all, it worked for years on ABC’s \u003cem>Spin City, \u003c/em>with \u003ca href=\"https://www.npr.org/2020/12/21/947962393/michael-j-fox-reflects-on-life-with-parkinsons-in-no-time-like-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">Michael J. Fox \u003c/a>playing the political assistant of a clueless mayor. And Mayor Jack Donaghy wouldn’t have been clueless—just arrogant and very, very vocal.\u003c/p>\n\u003cp>But with Donaghy out, Fey and Carlock dumped the spinoff idea and reshaped it into \u003cem>Mr. Mayor.\u003c/em> Where \u003cem>30 Rock\u003c/em> was set in and perfectly captured New York, the new sitcom is set in Los Angeles—and Neil Bremer, the newly elected mayor, isn’t a corporate executive, or even a TV celebrity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Iq7pZDK4cE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Bremer is a retired millionaire who made his fortune plastering billboards all along Southern California’s streets and highways. He’s not clueless or arrogant, but he does come to the job without credentials or experience. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=112884242\" target=\"_blank\" rel=\"noopener noreferrer\">Ted Danson\u003c/a>, the actor who plays Bremer, is the exact opposite—with so many credentials, and so much experience at starring in TV sitcoms, that it’s almost ridiculous. [aside postid='pop_105436']\u003c/p>\n\u003cp>NBC’s launch of \u003cem>Mr. Mayor \u003c/em>extends Danson’s astounding streak of starring in sitcoms to five consecutive decades. In the 1980s, he had an 11-year run starring as Sam Malone on NBC’s \u003cem>Cheers\u003c/em>. In the ’90s, he was still starring in \u003cem>Cheers\u003c/em>, then began a six-season run as the star of \u003cem>Becker \u003c/em>on CBS. In the 2000s, he finished up \u003cem>Becker\u003c/em> and started playing an exaggerated version of himself as a recurring character on \u003ca href=\"https://www.npr.org/2015/03/05/390948906/larry-davids-first-time-on-broadway-its-not-so-easy\" target=\"_blank\" rel=\"noopener noreferrer\">Larry David\u003c/a>‘s HBO series, \u003ca href=\"https://www.npr.org/2017/09/29/554262873/curb-your-enthusiasm-returns-and-larry-david-is-back-to-playing-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Curb Your Enthusiasm\u003c/em>\u003c/a>\u003cem>.\u003c/em> He’s still doing that. And in the decade that just ended, Danson also starred for four years on another brilliant sitcom, NBC’s \u003ca href=\"https://www.npr.org/2020/01/31/801540105/a-goodbye-to-the-good-place\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a>. And now, \u003cem>Mr. Mayor.\u003c/em> I’m in awe of that run—not only for its quantity and longevity, but also for its quality.\u003c/p>\n\u003cp>In \u003cem>Mr. Mayor, \u003c/em>Danson takes the spotlight and shines once again, playing a character who’s clearly delighted by the job he ran for, and won, on a whim. Mayor Bremer’s relationship with his 15-year-old daughter Orly, played by Kyla Kenedy, gives the show as much comic potential as the political workplace. Especially since Danson, as a father frustrated by his inability to connect with his teen daughter, takes the script and sticks every landing on every line—even the absurdly inappropriate toss-aways.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Mayor \u003c/em>has other secret weapons, too, including Holly Hunter, who begins the series as the mayor’s most vocal adversary. She’s wonderful. So is former \u003cem>SNL\u003c/em> player \u003ca href=\"https://www.npr.org/2014/01/26/265698086/for-snl-cast-member-the-waiting-was-the-hardest-part\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan \u003c/a>as one of the mayor’s political aides—and, basically, so is this entire show. NBC is premiering two episodes of \u003cem>Mr. Mayor \u003c/em>on Thursday, the night once reserved for such great, must-see TV sitcoms as \u003cem>Cheers\u003c/em>, which began its run there almost 40 years ago. To start 2021 on a very good note, NBC has done it again. And so has Ted Danson.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+%27Mr.+Mayor%2C%27+Ted+Danson+Sustains+His+Stellar+Sitcom+Streak&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 638,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705019688,
"excerpt": "Playing a retired millionaire who unexpectedly wins his bid to become mayor of LA, Danson takes the spotlight and shines.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Playing a retired millionaire who unexpectedly wins his bid to become mayor of LA, Danson takes the spotlight and shines.",
"title": "As 'Mr. Mayor,' Ted Danson Sustains His Stellar Sitcom Streak | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "As 'Mr. Mayor,' Ted Danson Sustains His Stellar Sitcom Streak",
"datePublished": "2021-01-05T12:28:32-08:00",
"dateModified": "2024-01-11T16:34:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "as-mr-mayor-ted-danson-sustains-his-stellar-sitcom-streak",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=953236399&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 05 Jan 2021 11:09:58 -0500",
"nprLastModifiedDate": "Tue, 05 Jan 2021 12:41:33 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/05/953236399/as-mr-mayor-ted-danson-sustains-his-stellar-sitcom-streak?ft=nprml&f=953236399",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210105_fa_02.mp3?orgId=427869011&topicId=1163&d=362&p=13&story=953236399&ft=nprml&f=953236399",
"nprImageAgency": "NBC",
"nprAudioM3u": "http://api.npr.org/m3u/1953604623-12f9d9.m3u?orgId=427869011&topicId=1163&d=362&p=13&story=953236399&ft=nprml&f=953236399",
"nprStoryId": "953236399",
"nprByline": "David Bianculli",
"sticky": false,
"nprImageCredit": "Mitchell Haddad",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 05 Jan 2021 13:31:00 -0500",
"path": "/arts/13890831/as-mr-mayor-ted-danson-sustains-his-stellar-sitcom-streak",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/01/20210105_fa_02.mp3?orgId=427869011&topicId=1163&d=362&p=13&story=953236399&ft=nprml&f=953236399",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2011/04/13/135247195/tina-fey-reveals-all-and-then-some-in-bossypants\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Fey\u003c/a> and Robert Carlock, the creators of NBC’s new sitcom \u003cem>Mr. Mayor\u003c/em>, were deep into the run of their hit \u003cem>30 Rock \u003c/em>when they came up with a promising idea for a spinoff. How about taking Jack Donaghy, the corporate executive played by \u003ca href=\"https://www.npr.org/2017/04/05/522712736/alec-baldwin-on-career-highs-and-lows-and-playing-a-larger-than-life-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin\u003c/a>, and have him run for mayor—and win?\u003c/p>\n\u003cp>That didn’t happen, and Baldwin ended up playing a much more powerful politician, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/12/514800509/melissa-mccarthys-spicey-and-alec-baldwins-trump-return-to-snl\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly and hilariously\u003c/a>, on Tina Fey’s old stomping grounds, \u003cem>Saturday Night Live. \u003c/em>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_96840",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that comic concept—of a celebrity mayor surrounded, and often defended by, an eager, yet weary, staff—was too good to let go. After all, it worked for years on ABC’s \u003cem>Spin City, \u003c/em>with \u003ca href=\"https://www.npr.org/2020/12/21/947962393/michael-j-fox-reflects-on-life-with-parkinsons-in-no-time-like-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">Michael J. Fox \u003c/a>playing the political assistant of a clueless mayor. And Mayor Jack Donaghy wouldn’t have been clueless—just arrogant and very, very vocal.\u003c/p>\n\u003cp>But with Donaghy out, Fey and Carlock dumped the spinoff idea and reshaped it into \u003cem>Mr. Mayor.\u003c/em> Where \u003cem>30 Rock\u003c/em> was set in and perfectly captured New York, the new sitcom is set in Los Angeles—and Neil Bremer, the newly elected mayor, isn’t a corporate executive, or even a TV celebrity.\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/4Iq7pZDK4cE'\n title='//www.youtube.com/embed/4Iq7pZDK4cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Bremer is a retired millionaire who made his fortune plastering billboards all along Southern California’s streets and highways. He’s not clueless or arrogant, but he does come to the job without credentials or experience. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=112884242\" target=\"_blank\" rel=\"noopener noreferrer\">Ted Danson\u003c/a>, the actor who plays Bremer, is the exact opposite—with so many credentials, and so much experience at starring in TV sitcoms, that it’s almost ridiculous. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_105436",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NBC’s launch of \u003cem>Mr. Mayor \u003c/em>extends Danson’s astounding streak of starring in sitcoms to five consecutive decades. In the 1980s, he had an 11-year run starring as Sam Malone on NBC’s \u003cem>Cheers\u003c/em>. In the ’90s, he was still starring in \u003cem>Cheers\u003c/em>, then began a six-season run as the star of \u003cem>Becker \u003c/em>on CBS. In the 2000s, he finished up \u003cem>Becker\u003c/em> and started playing an exaggerated version of himself as a recurring character on \u003ca href=\"https://www.npr.org/2015/03/05/390948906/larry-davids-first-time-on-broadway-its-not-so-easy\" target=\"_blank\" rel=\"noopener noreferrer\">Larry David\u003c/a>‘s HBO series, \u003ca href=\"https://www.npr.org/2017/09/29/554262873/curb-your-enthusiasm-returns-and-larry-david-is-back-to-playing-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Curb Your Enthusiasm\u003c/em>\u003c/a>\u003cem>.\u003c/em> He’s still doing that. And in the decade that just ended, Danson also starred for four years on another brilliant sitcom, NBC’s \u003ca href=\"https://www.npr.org/2020/01/31/801540105/a-goodbye-to-the-good-place\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a>. And now, \u003cem>Mr. Mayor.\u003c/em> I’m in awe of that run—not only for its quantity and longevity, but also for its quality.\u003c/p>\n\u003cp>In \u003cem>Mr. Mayor, \u003c/em>Danson takes the spotlight and shines once again, playing a character who’s clearly delighted by the job he ran for, and won, on a whim. Mayor Bremer’s relationship with his 15-year-old daughter Orly, played by Kyla Kenedy, gives the show as much comic potential as the political workplace. Especially since Danson, as a father frustrated by his inability to connect with his teen daughter, takes the script and sticks every landing on every line—even the absurdly inappropriate toss-aways.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Mayor \u003c/em>has other secret weapons, too, including Holly Hunter, who begins the series as the mayor’s most vocal adversary. She’s wonderful. So is former \u003cem>SNL\u003c/em> player \u003ca href=\"https://www.npr.org/2014/01/26/265698086/for-snl-cast-member-the-waiting-was-the-hardest-part\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan \u003c/a>as one of the mayor’s political aides—and, basically, so is this entire show. NBC is premiering two episodes of \u003cem>Mr. Mayor \u003c/em>on Thursday, the night once reserved for such great, must-see TV sitcoms as \u003cem>Cheers\u003c/em>, which began its run there almost 40 years ago. To start 2021 on a very good note, NBC has done it again. And so has Ted Danson.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+%27Mr.+Mayor%2C%27+Ted+Danson+Sustains+His+Stellar+Sitcom+Streak&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890831/as-mr-mayor-ted-danson-sustains-his-stellar-sitcom-streak",
"authors": [
"byline_arts_13890831"
],
"categories": [
"arts_1",
"arts_990"
],
"tags": [
"arts_549",
"arts_8480",
"arts_5422"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890835",
"label": "arts_137"
},
"arts_13890783": {
"type": "posts",
"id": "arts_13890783",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890783",
"score": null,
"sort": [
1609786023000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1609786023,
"format": "standard",
"title": "‘A Bumper Crop’ of Books, Movies and Music Just Entered the Public Domain",
"headTitle": "‘A Bumper Crop’ of Books, Movies and Music Just Entered the Public Domain | KQED",
"content": "\u003cp>What a year it was for Anglo-American literature and the arts!\u003c/p>\n\u003cp>1925 was the year of heralded novels by F. Scott Fitzgerald and Virginia Woolf, seminal works by Sinclair Lewis, Franz Kafka, Gertrude Stein, Agatha Christie, Theodore Dreiser, Edith Wharton, Aldous Huxley … and a banner year for musicians, too. Bessie Smith, Ma Rainey, the Gershwins, Duke Ellington and Fats Waller, among hundreds of others, made important recordings. And 1925 marked the release of canonical movies from silent film comedians Buster Keaton and Harold Lloyd.\u003c/p>\n\u003cp>As of today, every single one of those works has entered the public domain. “That means that copyright has expired,” explains Jennifer Jenkins, a law professor at Duke University who directs its \u003ca href=\"https://web.law.duke.edu/cspd/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of the Public Domain\u003c/a>. “And all of the works are free for anyone to use, reuse, build upon for anyone—without paying a fee.”\u003c/p>\n\u003cp>On January 1 every year, a new batch of published works is liberated from the constraints of copyright. (For a long time, copyright expired after 75 years, but in 1998, Congress extended the date of copyright expiration for works published between 1923 and 1977 to 95 years.) It’s difficult to overstate the importance of having work in the public domain. For example, can you imagine the holidays without \u003cem>It’s A Wonderful Life\u003c/em>? That movie happened to be unprotected by copyright, so it was able to be shown—a lot—for free, contributing to its establishment as an American Christmas classic.\u003c/p>\n\u003cp>It also means books can be published more cheaply and made available for free online; that old “orphan” films can be preserved by archivists; that scholars can access and publish material more easily; that musicians can sample and experiment with the songs of an earlier generation and that classic characters can be given new life and new interpretations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the most successful creators often leave behind legal estates to manage the care (and finances) of their famous books, plays, operas and so forth, most aren’t so lucky. “For the vast majority of authors from 1925, no one is benefiting from copyright protections,” Jenkins tells NPR. Having their work enter the public domain is a way to keep it circulating in the culture for artists and historians to use for education and inspiration.\u003c/p>\n\u003cp>In \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">an article about this year’s Public Domain Day\u003c/a>, Jenkins discusses everything from the changes in length of copyright to a fascinating story about the copyright of Hitler’s \u003cem>Mein Kampf\u003c/em>, which also enters the public domain this year. (A dizzyingly exhaustive list of works from 1925 now in the public domain \u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>.)\u003c/p>\n\u003cp>“What a bumper crop!” Jenkins exults. Besides the marquee names traditionally lionized by the literary establishment, she is quick to point out, there’s rich, unplumbed material especially useful to scholars of marginalized communities. And to be able to use and interpret these works—to put them in dialogue with contemporary thoughts and ideas—what a legacy of artistry and inspiration, says Jenkins, with which to begin 2021.\u003c/p>\n\u003cp>\u003cem>Below, you can peruse a selection of works entering the public domain today, hand-picked by Jenkins:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Books\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Great Gatsby \u003c/em>by F. Scott Fitzgerald\u003cem>\u003cbr>\nMrs. Dalloway \u003c/em>by Virginia Woolf\u003cem>\u003cbr>\nIn Our Time \u003c/em>by Ernest Hemingway\u003cem>\u003cbr>\nThe Trial\u003c/em> (in German) by Franz Kafka\u003cbr>\n\u003cem>An American Tragedy \u003c/em>by Theodore Dreiser\u003cbr>\n\u003cem>Manhattan Transfer\u003c/em> by John Dos Passos\u003cbr>\n\u003cem>The New Negro\u003c/em> edited by Alain Locke (collecting works from writers including W.E.B. du Bois, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and Eric Walrond)\u003cbr>\n\u003cem>Arrowsmith\u003c/em> by Sinclair Lewis\u003cbr>\n\u003cem>The Secret of Chimneys \u003c/em>by Agatha Christie\u003cbr>\n\u003cem>Those Barren Leaves \u003c/em>by Aldous Huxley\u003cbr>\n\u003cem>The Painted Veil \u003c/em>by W. Somerset Maugham\u003cbr>\n\u003cem>On the Trail of Negro Folk-Songs \u003c/em>by Dorothy Scarborough\u003cbr>\n\u003cem>The Writing of Fiction \u003c/em>by Edith Wharton\u003cbr>\n\u003cem>A Daughter of the Samurai \u003c/em>by Etsu Inagaki Sugimoto\u003c/p>\n\u003cp>\u003cstrong>Films\u003c/strong>\u003c/p>\n\u003cp>Harold Lloyd’s \u003cem>The Freshman\u003cbr>\nThe Merry Widow\u003cbr>\nStella Dallas\u003cbr>\n\u003c/em>Buster Keaton’s \u003cem>Go West\u003cbr>\nHis People\u003cbr>\nLovers in Quarantine\u003cbr>\nPretty Ladies\u003cbr>\nThe Unholy Three\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music\u003c/strong>\u003c/p>\n\u003cp>“Always,” by Irving Berlin\u003cbr>\n“Sweet Georgia Brown,” by Ben Bernie, Maceo Pinkard and Kenneth Casey\u003cbr>\nWorks by Gertrude “Ma” Rainey, the “Mother of the Blues,” including “Army Camp Harmony Blues” (with Hooks Tilford) and “Shave ‘Em Dry” (with William Jackson)\u003cbr>\n“Looking for a Boy,” by George and Ira Gershwin (from the musical \u003cem>Tip-Toes\u003c/em>)\u003cbr>\n“Manhattan,” by Lorenz Hart and Richard Rodgers\u003cbr>\n“Ukulele Lady,” by Gus Kahn and Richard Whiting\u003cbr>\n“Yes Sir, That’s My Baby,” by Gus Kahn and Walter Donaldson\u003cbr>\nWorks by “Jelly Roll” Morton, including “Shreveport Stomp” and “Milenberg Joys” (with Paul Mares, Walter Melrose and Leon Roppolo)\u003cbr>\nWorks by W.C. Handy, including “Friendless Blues” (with Mercedes Gilbert), “Bright Star of Hope” (with Lillian A. Thorsten) and “When the Black Man Has a Nation of His Own” (with J.M. Miller)\u003cbr>\nWorks by Duke Ellington, including “Jig Walk” and “With You” (both with Joseph “Jo” Trent)\u003cbr>\nWorks by “Fats” Waller, including “Anybody Here Want To Try My Cabbage” (with Andy Razaf), “Ball and Chain Blues” (with Andy Razaf), and “Campmeetin’ Stomp”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>… plus many, many more. You can find \u003c/em>\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jenkins’ full list here\u003c/em>\u003c/a>\u003cem>, and the \u003c/em>\u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>exhaustive list of works here\u003c/em>\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Party+Like+It%27s+1925+On+Public+Domain+Day+%28Gatsby+And+Dalloway+Are+In%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 945,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705019692,
"excerpt": "On January 1, the copyright on works by F. Scott Fitzgerald, Virginia Woolf, Franz Kafka, Agatha Christie and many more expired. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "On January 1, the copyright on works by F. Scott Fitzgerald, Virginia Woolf, Franz Kafka, Agatha Christie and many more expired. ",
"title": "‘A Bumper Crop’ of Books, Movies and Music Just Entered the Public Domain | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘A Bumper Crop’ of Books, Movies and Music Just Entered the Public Domain",
"datePublished": "2021-01-04T10:47:03-08:00",
"dateModified": "2024-01-11T16:34:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-bumper-crop-of-books-movies-and-music-just-entered-the-public-domain",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=951171599&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 01 Jan 2021 07:00:23 -0500",
"nprLastModifiedDate": "Fri, 01 Jan 2021 12:30:29 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/01/951171599/party-like-its-1925-on-public-domain-day-gatsby-and-dalloway-are-in?ft=nprml&f=951171599",
"nprImageAgency": "Getty Images",
"nprStoryId": "951171599",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprImageCredit": "Oli Scarff",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 01 Jan 2021 12:30:00 -0500",
"path": "/arts/13890783/a-bumper-crop-of-books-movies-and-music-just-entered-the-public-domain",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What a year it was for Anglo-American literature and the arts!\u003c/p>\n\u003cp>1925 was the year of heralded novels by F. Scott Fitzgerald and Virginia Woolf, seminal works by Sinclair Lewis, Franz Kafka, Gertrude Stein, Agatha Christie, Theodore Dreiser, Edith Wharton, Aldous Huxley … and a banner year for musicians, too. Bessie Smith, Ma Rainey, the Gershwins, Duke Ellington and Fats Waller, among hundreds of others, made important recordings. And 1925 marked the release of canonical movies from silent film comedians Buster Keaton and Harold Lloyd.\u003c/p>\n\u003cp>As of today, every single one of those works has entered the public domain. “That means that copyright has expired,” explains Jennifer Jenkins, a law professor at Duke University who directs its \u003ca href=\"https://web.law.duke.edu/cspd/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of the Public Domain\u003c/a>. “And all of the works are free for anyone to use, reuse, build upon for anyone—without paying a fee.”\u003c/p>\n\u003cp>On January 1 every year, a new batch of published works is liberated from the constraints of copyright. (For a long time, copyright expired after 75 years, but in 1998, Congress extended the date of copyright expiration for works published between 1923 and 1977 to 95 years.) It’s difficult to overstate the importance of having work in the public domain. For example, can you imagine the holidays without \u003cem>It’s A Wonderful Life\u003c/em>? That movie happened to be unprotected by copyright, so it was able to be shown—a lot—for free, contributing to its establishment as an American Christmas classic.\u003c/p>\n\u003cp>It also means books can be published more cheaply and made available for free online; that old “orphan” films can be preserved by archivists; that scholars can access and publish material more easily; that musicians can sample and experiment with the songs of an earlier generation and that classic characters can be given new life and new interpretations.\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>While the most successful creators often leave behind legal estates to manage the care (and finances) of their famous books, plays, operas and so forth, most aren’t so lucky. “For the vast majority of authors from 1925, no one is benefiting from copyright protections,” Jenkins tells NPR. Having their work enter the public domain is a way to keep it circulating in the culture for artists and historians to use for education and inspiration.\u003c/p>\n\u003cp>In \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">an article about this year’s Public Domain Day\u003c/a>, Jenkins discusses everything from the changes in length of copyright to a fascinating story about the copyright of Hitler’s \u003cem>Mein Kampf\u003c/em>, which also enters the public domain this year. (A dizzyingly exhaustive list of works from 1925 now in the public domain \u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>.)\u003c/p>\n\u003cp>“What a bumper crop!” Jenkins exults. Besides the marquee names traditionally lionized by the literary establishment, she is quick to point out, there’s rich, unplumbed material especially useful to scholars of marginalized communities. And to be able to use and interpret these works—to put them in dialogue with contemporary thoughts and ideas—what a legacy of artistry and inspiration, says Jenkins, with which to begin 2021.\u003c/p>\n\u003cp>\u003cem>Below, you can peruse a selection of works entering the public domain today, hand-picked by Jenkins:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Books\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Great Gatsby \u003c/em>by F. Scott Fitzgerald\u003cem>\u003cbr>\nMrs. Dalloway \u003c/em>by Virginia Woolf\u003cem>\u003cbr>\nIn Our Time \u003c/em>by Ernest Hemingway\u003cem>\u003cbr>\nThe Trial\u003c/em> (in German) by Franz Kafka\u003cbr>\n\u003cem>An American Tragedy \u003c/em>by Theodore Dreiser\u003cbr>\n\u003cem>Manhattan Transfer\u003c/em> by John Dos Passos\u003cbr>\n\u003cem>The New Negro\u003c/em> edited by Alain Locke (collecting works from writers including W.E.B. du Bois, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and Eric Walrond)\u003cbr>\n\u003cem>Arrowsmith\u003c/em> by Sinclair Lewis\u003cbr>\n\u003cem>The Secret of Chimneys \u003c/em>by Agatha Christie\u003cbr>\n\u003cem>Those Barren Leaves \u003c/em>by Aldous Huxley\u003cbr>\n\u003cem>The Painted Veil \u003c/em>by W. Somerset Maugham\u003cbr>\n\u003cem>On the Trail of Negro Folk-Songs \u003c/em>by Dorothy Scarborough\u003cbr>\n\u003cem>The Writing of Fiction \u003c/em>by Edith Wharton\u003cbr>\n\u003cem>A Daughter of the Samurai \u003c/em>by Etsu Inagaki Sugimoto\u003c/p>\n\u003cp>\u003cstrong>Films\u003c/strong>\u003c/p>\n\u003cp>Harold Lloyd’s \u003cem>The Freshman\u003cbr>\nThe Merry Widow\u003cbr>\nStella Dallas\u003cbr>\n\u003c/em>Buster Keaton’s \u003cem>Go West\u003cbr>\nHis People\u003cbr>\nLovers in Quarantine\u003cbr>\nPretty Ladies\u003cbr>\nThe Unholy Three\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music\u003c/strong>\u003c/p>\n\u003cp>“Always,” by Irving Berlin\u003cbr>\n“Sweet Georgia Brown,” by Ben Bernie, Maceo Pinkard and Kenneth Casey\u003cbr>\nWorks by Gertrude “Ma” Rainey, the “Mother of the Blues,” including “Army Camp Harmony Blues” (with Hooks Tilford) and “Shave ‘Em Dry” (with William Jackson)\u003cbr>\n“Looking for a Boy,” by George and Ira Gershwin (from the musical \u003cem>Tip-Toes\u003c/em>)\u003cbr>\n“Manhattan,” by Lorenz Hart and Richard Rodgers\u003cbr>\n“Ukulele Lady,” by Gus Kahn and Richard Whiting\u003cbr>\n“Yes Sir, That’s My Baby,” by Gus Kahn and Walter Donaldson\u003cbr>\nWorks by “Jelly Roll” Morton, including “Shreveport Stomp” and “Milenberg Joys” (with Paul Mares, Walter Melrose and Leon Roppolo)\u003cbr>\nWorks by W.C. Handy, including “Friendless Blues” (with Mercedes Gilbert), “Bright Star of Hope” (with Lillian A. Thorsten) and “When the Black Man Has a Nation of His Own” (with J.M. Miller)\u003cbr>\nWorks by Duke Ellington, including “Jig Walk” and “With You” (both with Joseph “Jo” Trent)\u003cbr>\nWorks by “Fats” Waller, including “Anybody Here Want To Try My Cabbage” (with Andy Razaf), “Ball and Chain Blues” (with Andy Razaf), and “Campmeetin’ Stomp”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>… plus many, many more. You can find \u003c/em>\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jenkins’ full list here\u003c/em>\u003c/a>\u003cem>, and the \u003c/em>\u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>exhaustive list of works here\u003c/em>\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Party+Like+It%27s+1925+On+Public+Domain+Day+%28Gatsby+And+Dalloway+Are+In%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890783/a-bumper-crop-of-books-movies-and-music-just-entered-the-public-domain",
"authors": [
"byline_arts_13890783"
],
"categories": [
"arts_1",
"arts_73",
"arts_74",
"arts_69"
],
"tags": [
"arts_10278"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890784",
"label": "arts_137"
},
"arts_13890777": {
"type": "posts",
"id": "arts_13890777",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890777",
"score": null,
"sort": [
1609784645000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1609784645,
"format": "standard",
"title": "3 Grammy Contenders Share Outrage at All-White Category, Decline Nominations",
"headTitle": "3 Grammy Contenders Share Outrage at All-White Category, Decline Nominations | KQED",
"content": "\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jmrbyfL2dSY\u003c/p>\n\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1113,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705019694,
"excerpt": "The Okee Dokee Brothers, Alastair Moock and Dog on Fleas have all declined nominations in the Best Children's Album category. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Okee Dokee Brothers, Alastair Moock and Dog on Fleas have all declined nominations in the Best Children's Album category. ",
"title": "3 Grammy Contenders Share Outrage at All-White Category, Decline Nominations | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "3 Grammy Contenders Share Outrage at All-White Category, Decline Nominations",
"datePublished": "2021-01-04T10:24:05-08:00",
"dateModified": "2024-01-11T16:34:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "3-grammy-contenders-share-outrage-at-all-white-category-decline-nominations",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=951420019&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 04 Jan 2021 05:04:00 -0500",
"nprLastModifiedDate": "Mon, 04 Jan 2021 12:16:05 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/01/04/951420019/3-grammy-contenders-share-outrage-at-all-white-category-decline-nominations?ft=nprml&f=951420019",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/01/20210104_me_three_contenders_for_2021_grammy_awards_share_outrage_at_all-white_category_decline_nominations.mp3?orgId=1&topicId=1105&d=324&p=3&story=951420019&ft=nprml&f=951420019",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1953146925-790bd4.m3u?orgId=1&topicId=1105&d=324&p=3&story=951420019&ft=nprml&f=951420019",
"nprStoryId": "951420019",
"nprByline": "Mandalit del Barco",
"sticky": false,
"nprImageCredit": "Frederick M. Brown",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 04 Jan 2021 12:16:00 -0500",
"path": "/arts/13890777/3-grammy-contenders-share-outrage-at-all-white-category-decline-nominations",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/01/20210104_me_three_contenders_for_2021_grammy_awards_share_outrage_at_all-white_category_decline_nominations.mp3?orgId=1&topicId=1105&d=324&p=3&story=951420019&ft=nprml&f=951420019",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\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/jmrbyfL2dSY'\n title='//www.youtube.com/embed/jmrbyfL2dSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\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>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890777/3-grammy-contenders-share-outrage-at-all-white-category-decline-nominations",
"authors": [
"byline_arts_13890777"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_9943",
"arts_1685"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890778",
"label": "arts_137"
},
"arts_13890756": {
"type": "posts",
"id": "arts_13890756",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890756",
"score": null,
"sort": [
1608753608000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1608753608,
"format": "standard",
"title": "'Wonder Woman 1984' and the One-Villain-Too-Many Problem",
"headTitle": "‘Wonder Woman 1984’ and the One-Villain-Too-Many Problem | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) [aside postid='pop_101858']\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XW2E2Fnh52w\u003c/p>\n\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. [aside postid='pop_12290']\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. [aside postid='pop_101544']\u003c/p>\n\u003cp>Plus? Not for nothing? If you grew up with the Lynda Carter Wonder Woman, and/or the \u003cem>Super Friends\u003c/em> Saturday morning cartoon, you’ll want to wait for the moment, one hour and ten minutes in to the film’s running time, when something happens. A something that would, in a crowded, opening-night theater, elicit a spontaneous cheer of pure, unfettered nerd-joy—a phenomenon unique to the superhero film genre, and its greatest gift to the world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1186,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705019697,
"excerpt": "The sequel to 2017's 'Wonder Woman' is bright, entertaining, frequently funny—and overstuffed with villain backstories.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The sequel to 2017's 'Wonder Woman' is bright, entertaining, frequently funny—and overstuffed with villain backstories.",
"title": "'Wonder Woman 1984' and the One-Villain-Too-Many Problem | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Wonder Woman 1984' and the One-Villain-Too-Many Problem",
"datePublished": "2020-12-23T12:00:08-08:00",
"dateModified": "2024-01-11T16:34:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "wonder-woman-1984-and-the-one-villain-too-many-problem",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=948875022&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Glen Weldon",
"nprStoryDate": "Wed, 23 Dec 2020 05:00:57 -0500",
"nprLastModifiedDate": "Wed, 23 Dec 2020 05:00:58 -0500",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2020/12/23/948875022/wonder-woman-1984-and-the-one-villain-too-many-problem?ft=nprml&f=948875022",
"nprImageAgency": "Warner Bros.",
"nprStoryId": "948875022",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 23 Dec 2020 05:00:00 -0500",
"path": "/arts/13890756/wonder-woman-1984-and-the-one-villain-too-many-problem",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_101858",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\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>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\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/XW2E2Fnh52w'\n title='//www.youtube.com/embed/XW2E2Fnh52w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_12290",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_101544",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plus? Not for nothing? If you grew up with the Lynda Carter Wonder Woman, and/or the \u003cem>Super Friends\u003c/em> Saturday morning cartoon, you’ll want to wait for the moment, one hour and ten minutes in to the film’s running time, when something happens. A something that would, in a crowded, opening-night theater, elicit a spontaneous cheer of pure, unfettered nerd-joy—a phenomenon unique to the superhero film genre, and its greatest gift to the world.\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>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890756/wonder-woman-1984-and-the-one-villain-too-many-problem",
"authors": [
"byline_arts_13890756"
],
"categories": [
"arts_1",
"arts_74",
"arts_75"
],
"tags": [
"arts_549",
"arts_10278",
"arts_12322",
"arts_11186"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890757",
"label": "arts_137"
},
"arts_13890741": {
"type": "posts",
"id": "arts_13890741",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890741",
"score": null,
"sort": [
1608734372000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1608734372,
"format": "standard",
"title": "Successful, Sentimental and Satirized, 'Love Story' Celebrates 50th Anniversary",
"headTitle": "Successful, Sentimental and Satirized, ‘Love Story’ Celebrates 50th Anniversary | KQED",
"content": "\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with it!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-4jKZ3X1zQ&feature=emb_logo\u003c/p>\n\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oJCO3hh7bAg&feature=emb_log\u003c/p>\n\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Successful%2C+Sentimental+And+Satirized%2C+%27Love+Story%27+Celebrates+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1593,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705019698,
"excerpt": "The romantic tearjerker was the highest grossing movie of 1970. Since then it's inspired countless ugly cries—and parodies too.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The romantic tearjerker was the highest grossing movie of 1970. Since then it's inspired countless ugly cries—and parodies too.",
"title": "Successful, Sentimental and Satirized, 'Love Story' Celebrates 50th Anniversary | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Successful, Sentimental and Satirized, 'Love Story' Celebrates 50th Anniversary",
"datePublished": "2020-12-23T06:39:32-08:00",
"dateModified": "2024-01-11T16:34:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "successful-sentimental-and-satirized-love-story-celebrates-50th-anniversary",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=948655542&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 22 Dec 2020 05:06:00 -0500",
"nprLastModifiedDate": "Tue, 22 Dec 2020 06:00:04 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/12/22/948655542/successful-sentimental-and-satirized-love-story-celebrates-50th-anniversary?ft=nprml&f=948655542",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/12/20201222_me_successful_sentimental_and_satirized_love_story_celebrates_50th_anniversary.mp3?orgId=1&topicId=1045&d=415&p=3&story=948655542&ft=nprml&f=948655542",
"nprImageAgency": "Paramount Pictures",
"nprAudioM3u": "http://api.npr.org/m3u/1949078425-b998a6.m3u?orgId=1&topicId=1045&d=415&p=3&story=948655542&ft=nprml&f=948655542",
"nprStoryId": "948655542",
"nprByline": "Elizabeth Blair",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 22 Dec 2020 08:19:00 -0500",
"path": "/arts/13890741/successful-sentimental-and-satirized-love-story-celebrates-50th-anniversary",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/12/20201222_me_successful_sentimental_and_satirized_love_story_celebrates_50th_anniversary.mp3?orgId=1&topicId=1045&d=415&p=3&story=948655542&ft=nprml&f=948655542",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\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>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with it!”\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/P-4jKZ3X1zQ'\n title='//www.youtube.com/embed/P-4jKZ3X1zQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\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/oJCO3hh7bAg'\n title='//www.youtube.com/embed/oJCO3hh7bAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\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>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Successful%2C+Sentimental+And+Satirized%2C+%27Love+Story%27+Celebrates+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890741/successful-sentimental-and-satirized-love-story-celebrates-50th-anniversary",
"authors": [
"byline_arts_13890741"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_977"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13890742",
"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": 1044,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2506,
"relation": "eq"
},
"items": [
"arts_13891000",
"arts_13890992",
"arts_13890984",
"arts_13890968",
"arts_13890905",
"arts_13890865",
"arts_13890846",
"arts_13890831",
"arts_13890783",
"arts_13890777",
"arts_13890756",
"arts_13890741"
],
"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_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_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_3752": {
"type": "terms",
"id": "arts_3752",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3752",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Andy Warhol",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Andy Warhol Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3764,
"slug": "andy-warhol",
"isLoading": false,
"link": "/arts/tag/andy-warhol"
},
"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_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_6713": {
"type": "terms",
"id": "arts_6713",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6713",
"found": true
},
"relationships": {},
"featImg": null,
"name": "toni morrison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "toni morrison Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6725,
"slug": "toni-morrison",
"isLoading": false,
"link": "/arts/tag/toni-morrison"
},
"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_10126": {
"type": "terms",
"id": "arts_10126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coronavirus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coronavirus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10138,
"slug": "coronavirus",
"isLoading": false,
"link": "/arts/tag/coronavirus"
},
"arts_10416": {
"type": "terms",
"id": "arts_10416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "shelter in place",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "shelter in place Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10428,
"slug": "shelter-in-place",
"isLoading": false,
"link": "/arts/tag/shelter-in-place"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"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_3114": {
"type": "terms",
"id": "arts_3114",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3114",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "disney",
"isLoading": false,
"link": "/arts/tag/disney"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1753": {
"type": "terms",
"id": "arts_1753",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1753",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Donald Trump",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Donald Trump Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1765,
"slug": "donald-trump",
"isLoading": false,
"link": "/arts/tag/donald-trump"
},
"arts_7072": {
"type": "terms",
"id": "arts_7072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "joe biden",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "joe biden Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7084,
"slug": "joe-biden",
"isLoading": false,
"link": "/arts/tag/joe-biden"
},
"arts_1730": {
"type": "terms",
"id": "arts_1730",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1730",
"found": true
},
"relationships": {},
"featImg": null,
"name": "nea",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "nea Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1742,
"slug": "nea",
"isLoading": false,
"link": "/arts/tag/nea"
},
"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_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_4506": {
"type": "terms",
"id": "arts_4506",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4506",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4518,
"slug": "sports",
"isLoading": false,
"link": "/arts/tag/sports"
},
"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_8480": {
"type": "terms",
"id": "arts_8480",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8480",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NBC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NBC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8492,
"slug": "nbc",
"isLoading": false,
"link": "/arts/tag/nbc"
},
"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_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"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_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_12322": {
"type": "terms",
"id": "arts_12322",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12322",
"found": true
},
"relationships": {},
"featImg": null,
"name": "films",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12334,
"slug": "films",
"isLoading": false,
"link": "/arts/tag/films"
},
"arts_11186": {
"type": "terms",
"id": "arts_11186",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11186",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO Max",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Max Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11198,
"slug": "hbo-max",
"isLoading": false,
"link": "/arts/tag/hbo-max"
},
"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"
}
},
"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
}
}
