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_11418577": {
"type": "attachments",
"id": "arts_11418577",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11418577",
"found": true
},
"parent": 11418576,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut.jpg",
"width": 1632,
"height": 1224
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18831_Woz.JPG-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458360252,
"modified": 1458360302,
"caption": "Silicon Valley Comic Con co-founder Steve Wozniak is literally the face of this event.",
"description": "Silicon Valley Comic Con co-founder Steve Wozniak is literally the face of this event.",
"title": "RS18831_Woz.JPG-qut",
"credit": "Photo: Rachael Myrow/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13258458": {
"type": "attachments",
"id": "arts_13258458",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13258458",
"found": true
},
"parent": 11414781,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Cover-1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1495154681,
"modified": 1495154735,
"caption": "Benjamin Dickinson in 'Creative Control.'",
"description": "Benjamin Dickinson in 'Creative Control.'",
"title": "Cover",
"credit": "Courtesy of Magnolia Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11412351": {
"type": "attachments",
"id": "arts_11412351",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11412351",
"found": true
},
"parent": 11412346,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover.jpg",
"width": 1152,
"height": 648
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/EyeSkyCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458173642,
"modified": 1458173663,
"caption": "Helen Mirren stars as Col. Katherine Powell in Gavin Hood's 'Eye in the Sky.'",
"description": null,
"title": "eye-in-the-sky-eits_00534_r_rgb",
"credit": "Photo: Keith Bernstein/Bleecker Street",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11415424": {
"type": "attachments",
"id": "arts_11415424",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11415424",
"found": true
},
"parent": 11415041,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-400x229.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 229
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-960x549.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 549
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage.jpg",
"width": 1554,
"height": 889
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-1180x675.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-800x458.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 458
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-1180x675.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 675
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-768x439.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 439
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Confirmed-Celebrity-Collage-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1458261876,
"modified": 1458261914,
"caption": "Silicon Valley Comic Con",
"description": "Silicon Valley Comic Con",
"title": "Silicon Valley Comic Con",
"credit": "Photo: Collage courtesy of Silicon Valley Comic Con",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11403574": {
"type": "attachments",
"id": "arts_11403574",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11403574",
"found": true
},
"parent": 11403573,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-e1457913650297.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/ce-00792rsgrdzgd_wide-2e850bcaaf584398b7d232d41251966be3e2c4e4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457913386,
"modified": 1457913679,
"caption": "John Goodman as Howard; Mary Elizabeth Winstead as Michelle in '10 Cloverfield Lane.'",
"description": null,
"title": "John Goodman as Howard; Mary Elizabeth Winstead as Michelle in 10 Cloverfield Lane.",
"credit": "Photo: Michele K. Short/Courtesy of Paramount Pictures",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11394934": {
"type": "attachments",
"id": "arts_11394934",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11394934",
"found": true
},
"parent": 11394452,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-400x225.jpeg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-960x540.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2.jpeg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-1180x664.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-1920x1080.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-1180x664.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-75x75.jpeg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/TFK-Still-2-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457649959,
"modified": 1457649959,
"caption": null,
"description": null,
"title": "TFK Still 2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11238570": {
"type": "attachments",
"id": "arts_11238570",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11238570",
"found": true
},
"parent": 11238569,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46.jpg",
"width": 4337,
"height": 2439
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452550427,
"modified": 1452550427,
"caption": null,
"description": "David Bowie showed off his acting chops as the British-accented alien in the 1976 film \u003cem>The Man Who Fell To Earth\u003c/em>.",
"title": "David Bowie showed off his acting chops as the British-accented alien in the 1976 film The Man Who Fell To Earth.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11395056": {
"type": "attachments",
"id": "arts_11395056",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11395056",
"found": true
},
"parent": 11395055,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP.jpg",
"width": 1528,
"height": 860
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Ken-AdamCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457653322,
"modified": 1457653438,
"caption": "Susan Sarandon (L) and her husband actor Tim Robbins (R) stand with Ken Adam (2ndL) and Carolyn Scott (2ndR), who won Oscars for best art direction for their work in 'The Madness of King George' at the 67th annual Academy Awards ",
"description": "Susan Sarandon (L) and her husband actor Tim Robbins (R) stand with Ken Adam (2ndL) and Carolyn Scott (2ndR), who won Oscars for best art direction for their work in 'The Madness of King George' at the 67th annual Academy Awards ",
"title": "US actress Susan Sarandon (L) and her husband acto",
"credit": "Photo: Dan Groshong/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11389437": {
"type": "attachments",
"id": "arts_11389437",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11389437",
"found": true
},
"parent": 11387523,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/WongCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457469433,
"modified": 1457469463,
"caption": "Tyrus Wong painting.",
"description": null,
"title": "WongCover",
"credit": "Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11392124": {
"type": "attachments",
"id": "arts_11392124",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11392124",
"found": true
},
"parent": 11392123,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11392123-thumb.png",
"width": 200,
"height": 113
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11392123-thumb-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11392123-thumb-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11392123-thumb-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11392123-thumb-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11392123-thumb-128x113.png",
"width": 128,
"mimeType": "image/png",
"height": 113
}
},
"publishDate": 1457560281,
"modified": 1457560281,
"caption": null,
"description": null,
"title": "Thumbnail for 11392123",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11386882": {
"type": "attachments",
"id": "arts_11386882",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11386882",
"found": true
},
"parent": 11386881,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11386881-thumb.png",
"width": 200,
"height": 113
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11386881-thumb-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11386881-thumb-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11386881-thumb-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11386881-thumb-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/11386881-thumb-128x113.png",
"width": 128,
"mimeType": "image/png",
"height": 113
}
},
"publishDate": 1457380281,
"modified": 1457380281,
"caption": null,
"description": null,
"title": "Thumbnail for 11386881",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"trulyca_2527": {
"type": "attachments",
"id": "trulyca_2527",
"meta": {
"index": "attachments_1716263798",
"site": "trulyca",
"id": "2527",
"found": true
},
"parent": 21,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-520x259.png",
"width": 520,
"mimeType": "image/png",
"height": 259
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-160x80.png",
"width": 160,
"mimeType": "image/png",
"height": 80
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-960x478.png",
"width": 960,
"mimeType": "image/png",
"height": 478
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-375x187.png",
"width": 375,
"mimeType": "image/png",
"height": 187
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1.png",
"width": 1567,
"height": 781
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-1020x508.png",
"width": 1020,
"mimeType": "image/png",
"height": 508
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-1180x588.png",
"width": 1180,
"mimeType": "image/png",
"height": 588
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-1200x598.png",
"width": 1200,
"mimeType": "image/png",
"height": 598
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-800x399.png",
"width": 800,
"mimeType": "image/png",
"height": 399
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-1180x588.png",
"width": 1180,
"mimeType": "image/png",
"height": 588
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-768x383.png",
"width": 768,
"mimeType": "image/png",
"height": 383
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/29/2016/03/DeYoung1-240x120.png",
"width": 240,
"mimeType": "image/png",
"height": 120
}
},
"publishDate": 1537979215,
"modified": 1537979215,
"caption": null,
"description": null,
"title": "DeYoung1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_11412346": {
"type": "authors",
"id": "byline_arts_11412346",
"meta": {
"override": true
},
"slug": "byline_arts_11412346",
"name": "Mark Jenkins",
"isLoading": false
},
"byline_arts_11403573": {
"type": "authors",
"id": "byline_arts_11403573",
"meta": {
"override": true
},
"slug": "byline_arts_11403573",
"name": "Scott Tobias",
"isLoading": false
},
"byline_arts_11395055": {
"type": "authors",
"id": "byline_arts_11395055",
"meta": {
"override": true
},
"slug": "byline_arts_11395055",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"jedalatpour": {
"type": "authors",
"id": "42",
"meta": {
"index": "authors_1716337520",
"id": "42",
"found": true
},
"name": "Jeffrey Edalatpour",
"firstName": "Jeffrey",
"lastName": "Edalatpour",
"slug": "jedalatpour",
"email": "jedalatpour@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Jeffrey Edalatpour's first published article was a 1999 film review of Pedro Almodovar’s \u003ci>All About My Mother. \u003c/i>Since then, his writing about arts, food and culture has appeared in a variety of print and online publications, including: KQED Arts, \u003ci>Metro Silicon Valley, Interview Magazine, \u003c/i>Berkeleyside.com, The Rumpus and \u003ci>SF Weekly. \u003c/i>His favorite Iris Murdoch novels (in no particular order) are \u003ci>The Bell, An Unofficial Rose \u003c/i>and\u003ci>The Black Prince\u003c/i>\u003ci>. \u003c/i>In other words, his home library is an anglophile’s dream.",
"avatar": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twitter": "jsedalatpour",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "about",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
}
],
"headData": {
"title": "Jeffrey Edalatpour | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ed59ec60f4980f3a45d0c3758c17a4d4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jedalatpour"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"filmss": {
"type": "authors",
"id": "8652",
"meta": {
"index": "authors_1716337520",
"id": "8652",
"found": true
},
"name": "Film School Shorts",
"firstName": "Film",
"lastName": "School Shorts",
"slug": "filmss",
"email": "filmschoolshorts@KQED.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Film School Shorts | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/filmss"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557459
},
"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,
"title": "Movies",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 185
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 185
}
},
{
"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_11418576": {
"type": "posts",
"id": "arts_11418576",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11418576",
"score": null,
"sort": [
1458372002000
]
},
"guestAuthors": [],
"slug": "silicon-valley-comic-con-brings-an-eyeful-to-san-jose",
"title": "Silicon Valley Comic Con Brings an Eyeful to San Jose",
"publishDate": 1458372002,
"format": "standard",
"headTitle": "Silicon Valley Comic Con Brings an Eyeful to San Jose | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Thor, Spock and other assorted sci-fi and fantasy characters are wandering the halls of the San Jose Convention Center this weekend for \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>.\u003c/p>\n\u003cp>As you’d expect, the people-watching will be a big draw. Not only will spectators get to ogle pint-sized superheroes in their Halloween costumes, they’ll eve catch glimpses of tech icons like Apple co founder Steve Wozniak.\u003c/p>\n\u003cp>Wozniak is a sci-fi fan boy and he wanted a new Comic Con close to home. “I go back 30, 40 years driving down to Los Angeles to see Star Trek conventions and see those people, and I’m going to actually get to meet William Shatner. I heard that he wants to have a dinner with me. Wow. I mean I’m real nervous over that.”\u003c/p>\n\u003cp>[contextly_sidebar id=”OqkPYrEeyYXdAIKZH4Hw8kkM9mCYknKd”]\u003c/p>\n\u003cp>Dinner with Capt. Kirk may be the real reason Wozniak helped rally the people and capital to spawn another spinoff of the original Comic Con in San Diego. But the event is more than another opportunity to appreciate Hollywood franchises.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local artists are displaying their work here before a genuinely enthusiastic crowd of thousands, an estimated 30,000 per day.\u003c/p>\n\u003cfigure id=\"attachment_11418693\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11418693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg\" alt=\"This is Hannah McGill's best-seller. "A lot of people think he's singing opera."\" width=\"400\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1.jpg 626w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">This is Hannah McGill’s best-seller. “A lot of people think he’s singing opera.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such artist on display is illustrator \u003ca href=\"http://www.hannahmcgill.com/\" target=\"_blank\" rel=\"noopener\">Hannah McGill\u003c/a> from Mountain View. Her passion is paleontology and her take on it is decidedly humorous. “I loved going to the science museum growing up,” she says. “I love the people I’ve met through it. Including paleontologists.”\u003c/p>\n\u003cp>Laurie Gee from Foster City likes to buy art and books at conventions like this, because she can get the artists to sign their work. “I’m downsizing, but I can’t help it sometimes,” she says before heading back to browse the display booths.\u003c/p>\n\u003cfigure id=\"attachment_11418694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11418694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg\" alt=\"Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but "It's also just fun to hang out with friends. "\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but “It’s also just fun to hang out with friends. “\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Silicon Valley Comic Con runs through Sunday.\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726788134,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 374
},
"headData": {
"title": "Silicon Valley Comic Con Brings an Eyeful to San Jose | KQED",
"description": "Thor, Spock and other assorted sci-fi and fantasy characters are wandering the halls of the San Jose Convention Center this weekend for Silicon Valley Comic Con. As you'd expect, the people-watching will be a big draw. Not only will spectators get to ogle pint-sized superheroes in their Halloween costumes, they'll eve catch glimpses of tech icons like Apple co founder Steve Wozniak. Wozniak is a sci-fi fan boy and he wanted a new Comic Con close to home. "I go back 30, 40 years driving down to Los Angeles to see Star Trek conventions and see those people, and I’m",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Silicon Valley Comic Con Brings an Eyeful to San Jose",
"datePublished": "2016-03-19T00:20:02-07:00",
"dateModified": "2024-09-19T16:22:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11418576/silicon-valley-comic-con-brings-an-eyeful-to-san-jose",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thor, Spock and other assorted sci-fi and fantasy characters are wandering the halls of the San Jose Convention Center this weekend for \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>.\u003c/p>\n\u003cp>As you’d expect, the people-watching will be a big draw. Not only will spectators get to ogle pint-sized superheroes in their Halloween costumes, they’ll eve catch glimpses of tech icons like Apple co founder Steve Wozniak.\u003c/p>\n\u003cp>Wozniak is a sci-fi fan boy and he wanted a new Comic Con close to home. “I go back 30, 40 years driving down to Los Angeles to see Star Trek conventions and see those people, and I’m going to actually get to meet William Shatner. I heard that he wants to have a dinner with me. Wow. I mean I’m real nervous over that.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dinner with Capt. Kirk may be the real reason Wozniak helped rally the people and capital to spawn another spinoff of the original Comic Con in San Diego. But the event is more than another opportunity to appreciate Hollywood franchises.\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>Local artists are displaying their work here before a genuinely enthusiastic crowd of thousands, an estimated 30,000 per day.\u003c/p>\n\u003cfigure id=\"attachment_11418693\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11418693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg\" alt=\"This is Hannah McGill's best-seller. "A lot of people think he's singing opera."\" width=\"400\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1.jpg 626w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">This is Hannah McGill’s best-seller. “A lot of people think he’s singing opera.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such artist on display is illustrator \u003ca href=\"http://www.hannahmcgill.com/\" target=\"_blank\" rel=\"noopener\">Hannah McGill\u003c/a> from Mountain View. Her passion is paleontology and her take on it is decidedly humorous. “I loved going to the science museum growing up,” she says. “I love the people I’ve met through it. Including paleontologists.”\u003c/p>\n\u003cp>Laurie Gee from Foster City likes to buy art and books at conventions like this, because she can get the artists to sign their work. “I’m downsizing, but I can’t help it sometimes,” she says before heading back to browse the display booths.\u003c/p>\n\u003cfigure id=\"attachment_11418694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11418694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg\" alt=\"Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but "It's also just fun to hang out with friends. "\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but “It’s also just fun to hang out with friends. “\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Silicon Valley Comic Con runs through Sunday.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11418576/silicon-valley-comic-con-brings-an-eyeful-to-san-jose",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_73",
"arts_74",
"arts_75",
"arts_990",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_11418577",
"label": "arts"
},
"arts_11414781": {
"type": "posts",
"id": "arts_11414781",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11414781",
"score": null,
"sort": [
1458313217000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1458313217,
"format": "standard",
"title": "People Still Terrible in the Near Future of ‘Creative Control’",
"headTitle": "People Still Terrible in the Near Future of ‘Creative Control’ | KQED",
"content": "\u003cp>\u003ci>Creative Control\u003c/i>, a new science fiction film opening Friday in theaters across the Bay Area, begins in a Brooklyn of the near future, a future full of glass-doored offices, well-appointed lofts and wearable technology. \u003c/p>\n\u003cp>Is it a utopic future? No, those aren’t really interesting — and they usually belie a sinister, motivating secret. It’s a dystopia then? Not that either: society remains intact. Far more uncomfortable than either classifying dichotomy, the future depicted in \u003ci>Creative Control\u003c/i>, by the film’s end credits, seems inevitable.\u003c/p>\n\u003cp>https://youtu.be/IDCcO7uGQQk\u003c/p>\n\u003cp>The movie opens as advertising executive David (\u003ci>Creative Control\u003c/i>’s writer/director Benjamin Dickinson) shows up at work late and hungover. Handsome, stylish and sporting just the right amount of facial hair, he’s instantly unlikable.\u003c/p>\n\u003cp>During \u003ca href=\"http://www.kqed.org/a/forum/R201602261000\" target=\"_blank\" rel=\"noopener\">a recent appearance on KQED’s Forum\u003c/a>, Dickinson explained how he created the character of David. “I just exaggerated all my worst qualities,” he said. “I think David is a prototypical white male in his thirties working in tech… ambitious, empty, neurotic.”\u003c/p>\n\u003cfigure id=\"attachment_11414784\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as David’s ambitious, empty, neurotic persona makes it difficult for him to care about anything or anyone, it’s hard to care about the main characters in Dickinson’s film: David, his yoga-instructor girlfriend Juliette (Nora Zehetner from \u003ci>Brick\u003c/i>), his best friend and playboy fashion photographer Wim (Dan Gill), or Wim’s girlfriend Sophie (Alexia Rasmussen). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The shallow narrative arc of \u003ci>Creative Control\u003c/i> centers around David’s use of “Augmenta,” augmented reality technology that looks like a pair of slick, clear-framed glasses in a Cupertino-made box. Tasked with the job of developing a creative advertising campaign for Augmenta, David outsources that job to “a genius-level creative,” musician and performer Reggie Watts playing, well, \u003ca href=\"http://reggiewatts.com/\" target=\"_blank\" rel=\"noopener\">Reggie Watts\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11414918\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Watts.jpg\" alt=\"Reggie Watts in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11414918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Watts in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As David toys with Augmenta on his own time, developing a digital avatar of Sophie to fulfill his covetous fantasies, he grows more distant from his real-life girlfriend — in the midst of her own thinly-sketched crisis of faith regarding the question of yoga or no yoga, and if no yoga, what else. If Juliette enjoys a life without overt digital intervention, a more bodily engagement with the world, she’s also directionless, naïve and oblivious to her own privilege. See what I said about hard to like?\u003c/p>\n\u003cp>Wim shares none of David’s anxiety about sex, relationships or technology, mostly because he leads a purely hedonistic lifestyle, sleeping with his models, carrying on with Sophie, sending \u003cem>in flagrante\u003c/em> pictures to his best friend.\u003c/p>\n\u003cp>And what can I say about Sophie, the object of David’s affection? Not much. Her digital avatar, who looks very much like Alicia Vikander in \u003ci>Ex Machina\u003c/i> is sultry and obedient, her real-life self flirts with danger, but ultimately avoids any real impropriety. She, too, works in fashion. \u003c/p>\n\u003cfigure id=\"attachment_11414786\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg\" alt=\"The Sophie avatar in formation, a scene from 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Sophie avatar in formation, a scene from ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the main characters all work in worlds dominated by appearances, or the appearance of bettering oneself, it’s fitting that \u003ci>Creative Control\u003c/i> looks good. Shot in black and white, with \u003ci>Pleasantville\u003c/i>-esque moments of color for the digital avatar of Sophie, the movie presents a future instantly recognizable as the next, better-designed iteration of our own. Phones become slim tablets of clear plastic, David manipulates Augmenta with the tap of a few fingertips, Brooklyn is even cleaner than it is now.\u003c/p>\n\u003cp>It’s at a technology-free party hosted by Watts that the movie proposes a bit of central tension. “We’re definitely more comfortable with loops because you know where you’re gonna end up,” Watts says to a drugged-out David. Will the ad man choose a looped life or branch out (in his mind, this means pursue Sophie) to explore spiral-shaped possibilities?\u003c/p>\n\u003cfigure id=\"attachment_11414785\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nora Zehetner and Benjamin Dickinson in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no big moral lesson here; ambitious, empty, neurotic people rarely provide much in the way of learning opportunities. But \u003ci>Creative Control\u003c/i> does reflect — at times — an uncannily familiar world to our own. New technology both helps and hinders us, but in \u003ci>Creative Control\u003c/i>, as in real life, it’s the preexisting malaise, anxiety and relationships that shape our use of that technology, not the other way around.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Creative Control\u003c/strong> opens March 18 at Landmark Opera Plaza in San Francisco, Landmark Shattuck in Berkeley, Camera 3 in San Jose. For more information visit \u003ca href=\"http://www.magpictures.com/creativecontrol/\" target=\"_blank\" rel=\"noopener\">magpictures.com/creativecontrol\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 827,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705044825,
"excerpt": "The characters in Benjamin Dickinson's new sci-fi don't need technology to make them unhappy, they're doing fine on their own.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The characters in Benjamin Dickinson's new sci-fi don't need technology to make them unhappy, they're doing fine on their own.",
"title": "People Still Terrible in the Near Future of ‘Creative Control’ | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "People Still Terrible in the Near Future of ‘Creative Control’",
"datePublished": "2016-03-18T08:00:17-07:00",
"dateModified": "2024-01-11T23:33:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "people-still-terrible-in-the-near-future-of-creative-control",
"status": "publish",
"sticky": false,
"path": "/arts/11414781/people-still-terrible-in-the-near-future-of-creative-control",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Creative Control\u003c/i>, a new science fiction film opening Friday in theaters across the Bay Area, begins in a Brooklyn of the near future, a future full of glass-doored offices, well-appointed lofts and wearable technology. \u003c/p>\n\u003cp>Is it a utopic future? No, those aren’t really interesting — and they usually belie a sinister, motivating secret. It’s a dystopia then? Not that either: society remains intact. Far more uncomfortable than either classifying dichotomy, the future depicted in \u003ci>Creative Control\u003c/i>, by the film’s end credits, seems inevitable.\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/IDCcO7uGQQk'\n title='//www.youtube.com/embed/IDCcO7uGQQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie opens as advertising executive David (\u003ci>Creative Control\u003c/i>’s writer/director Benjamin Dickinson) shows up at work late and hungover. Handsome, stylish and sporting just the right amount of facial hair, he’s instantly unlikable.\u003c/p>\n\u003cp>During \u003ca href=\"http://www.kqed.org/a/forum/R201602261000\" target=\"_blank\" rel=\"noopener\">a recent appearance on KQED’s Forum\u003c/a>, Dickinson explained how he created the character of David. “I just exaggerated all my worst qualities,” he said. “I think David is a prototypical white male in his thirties working in tech… ambitious, empty, neurotic.”\u003c/p>\n\u003cfigure id=\"attachment_11414784\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl2-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as David’s ambitious, empty, neurotic persona makes it difficult for him to care about anything or anyone, it’s hard to care about the main characters in Dickinson’s film: David, his yoga-instructor girlfriend Juliette (Nora Zehetner from \u003ci>Brick\u003c/i>), his best friend and playboy fashion photographer Wim (Dan Gill), or Wim’s girlfriend Sophie (Alexia Rasmussen). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The shallow narrative arc of \u003ci>Creative Control\u003c/i> centers around David’s use of “Augmenta,” augmented reality technology that looks like a pair of slick, clear-framed glasses in a Cupertino-made box. Tasked with the job of developing a creative advertising campaign for Augmenta, David outsources that job to “a genius-level creative,” musician and performer Reggie Watts playing, well, \u003ca href=\"http://reggiewatts.com/\" target=\"_blank\" rel=\"noopener\">Reggie Watts\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11414918\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Watts.jpg\" alt=\"Reggie Watts in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11414918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Watts-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Watts in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As David toys with Augmenta on his own time, developing a digital avatar of Sophie to fulfill his covetous fantasies, he grows more distant from his real-life girlfriend — in the midst of her own thinly-sketched crisis of faith regarding the question of yoga or no yoga, and if no yoga, what else. If Juliette enjoys a life without overt digital intervention, a more bodily engagement with the world, she’s also directionless, naïve and oblivious to her own privilege. See what I said about hard to like?\u003c/p>\n\u003cp>Wim shares none of David’s anxiety about sex, relationships or technology, mostly because he leads a purely hedonistic lifestyle, sleeping with his models, carrying on with Sophie, sending \u003cem>in flagrante\u003c/em> pictures to his best friend.\u003c/p>\n\u003cp>And what can I say about Sophie, the object of David’s affection? Not much. Her digital avatar, who looks very much like Alicia Vikander in \u003ci>Ex Machina\u003c/i> is sultry and obedient, her real-life self flirts with danger, but ultimately avoids any real impropriety. She, too, works in fashion. \u003c/p>\n\u003cfigure id=\"attachment_11414786\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg\" alt=\"The Sophie avatar in formation, a scene from 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl7-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Sophie avatar in formation, a scene from ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the main characters all work in worlds dominated by appearances, or the appearance of bettering oneself, it’s fitting that \u003ci>Creative Control\u003c/i> looks good. Shot in black and white, with \u003ci>Pleasantville\u003c/i>-esque moments of color for the digital avatar of Sophie, the movie presents a future instantly recognizable as the next, better-designed iteration of our own. Phones become slim tablets of clear plastic, David manipulates Augmenta with the tap of a few fingertips, Brooklyn is even cleaner than it is now.\u003c/p>\n\u003cp>It’s at a technology-free party hosted by Watts that the movie proposes a bit of central tension. “We’re definitely more comfortable with loops because you know where you’re gonna end up,” Watts says to a drugged-out David. Will the ad man choose a looped life or branch out (in his mind, this means pursue Sophie) to explore spiral-shaped possibilities?\u003c/p>\n\u003cfigure id=\"attachment_11414785\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg\" alt=\"Benjamin Dickinson at center, pitching a campaign strategy to Augmenta in 'Creative Control,' a Magnolia Pictures release.\" width=\"1200\" height=\"502\" class=\"size-full wp-image-11414785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-400x167.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CreativeControl5-960x402.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nora Zehetner and Benjamin Dickinson in ‘Creative Control,’ a Magnolia Pictures release. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no big moral lesson here; ambitious, empty, neurotic people rarely provide much in the way of learning opportunities. But \u003ci>Creative Control\u003c/i> does reflect — at times — an uncannily familiar world to our own. New technology both helps and hinders us, but in \u003ci>Creative Control\u003c/i>, as in real life, it’s the preexisting malaise, anxiety and relationships that shape our use of that technology, not the other way around.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Creative Control\u003c/strong> opens March 18 at Landmark Opera Plaza in San Francisco, Landmark Shattuck in Berkeley, Camera 3 in San Jose. For more information visit \u003ca href=\"http://www.magpictures.com/creativecontrol/\" target=\"_blank\" rel=\"noopener\">magpictures.com/creativecontrol\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11414781/people-still-terrible-in-the-near-future-of-creative-control",
"authors": [
"61"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13258458",
"label": "arts"
},
"arts_11412346": {
"type": "posts",
"id": "arts_11412346",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11412346",
"score": null,
"sort": [
1458309656000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1458309656,
"format": "standard",
"title": "A War Seen In Unnerving Close-Up from 'Eye in the Sky'",
"headTitle": "A War Seen In Unnerving Close-Up from ‘Eye in the Sky’ | KQED",
"content": "\u003cp>In \u003cem>A War\u003c/em>, a Danish commander whose troops are under attack by the Taliban calls in an air strike, and later has to answer for it in a courtroom. \u003cem>Eye in the Sky\u003c/em> mashes those two narratives together. While a drone pilot in Nevada prepares to hit al-Shabaab terrorists in Nairobi, the morality of this potential action is debated by politicos in London.\u003c/p>\n\u003cp>The movie is both provocative and fairly gripping, if not altogether convincing. As directed by Gavin Hood, a South African whose \u003cem>Rendition\u003c/em> took a broader and more melodramatic look at Western responses to extremist violence, \u003cem>Eye in the Sky\u003c/em> neatly contrasts urgency and hesitation, and pits near-certainty against reasonable doubt.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zoBk3e9fFPU\u003c/p>\n\u003cp>This is the structure provided by writer Guy Hibbert, whose script essentially interlaces a thriller with a courtroom drama. The story begins with a Muslim family in Kenya and a military officer in Britain. Col. Powell (Helen Mirren) has long tracked a U.K.-born woman who married a Somali man suspected of terrorism and converted to his brand of Islam. The family’s young daughter, Alia (Aisha Tashow), is about to get in the colonel’s way.\u003c/p>\n\u003cp>Powell and her small crew of technicians, no-nonsense except for their unnecessary camouflage uniforms, can’t do the job alone. The American drone operator (Aaron Paul) and other U.S. military personnel are in the electronic loop. Their cooperation becomes essential after the colonel peeks inside a house via bird- and insect-mimicking drones that may be a bit cuter than their real-life equivalents. Powell determines that her targets are about to undertake a suicide bombing, so she wants to kill them first. Only the Yanks have the means to do that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The process quickly gets lawyered up. There’s an attorney to offer cautions at the base where Powell works, and British Lt. Gen. Benson (the late Alan Rickman) heads to a cabinet briefing room to consult with legalistic politicians. Soon, they’ve got the foreign secretary on the video-phone from Singapore. The stalling irritates Powell and Benson (and Rickman was a master of exasperation).\u003c/p>\n\u003cp>The talking heads are physically detached from the situation, but the British have a man on the ground in Kenya, Jama (Somalia-born Barkhad Abdi, who played the pirate leader in \u003cem>Captain Phillips\u003c/em>). He’s assigned to move Alia, who’s selling loaves of bread, away from the house the British want to bomb. That turns out to be tricky, and so chubby-cheeked Alia becomes the human face of possible collateral damage.\u003c/p>\n\u003cp>All the live video provides an intimacy new to missile attacks. The Britons have seen in closeup the innocent girl they might slay. Still, they devote an implausible amount of time to discussing the quandary, and some moments of American reluctance seem even more unlikely. These scenes of ethical and political consideration work more as a filmed theater piece than as realistic cinema.\u003c/p>\n\u003cp>But as its engine the movie has the action in Kenya, where there’s little talk, and all of it is pragmatic. People haggle over bread, unaware of the larger bargain being negotiated across three other continents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eye in the Sky\u003c/em> — like Hood’s previous film, \u003cem>Ender’s Game\u003c/em> — has lots of CGI and green-screen work. But this time the director employs special effects only to show things that could happen, and technology that really exists, in places that haven’t quite caught up to the deadly implications. Those places would include, well, everywhere on Earth.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 607,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705044826,
"excerpt": "Drone warfare forms the backbone of 'Eye In The Sky,' starring Helen Mirren as a British military officer arguing over the messy ethics of collateral damage.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Drone warfare forms the backbone of 'Eye In The Sky,' starring Helen Mirren as a British military officer arguing over the messy ethics of collateral damage.",
"title": "A War Seen In Unnerving Close-Up from 'Eye in the Sky' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A War Seen In Unnerving Close-Up from 'Eye in the Sky'",
"datePublished": "2016-03-18T07:00:56-07:00",
"dateModified": "2024-01-11T23:33:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=469647984&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mark Jenkins",
"nprStoryDate": "Thu, 10 Mar 2016 17:00:00 -0500",
"nprLastModifiedDate": "Thu, 10 Mar 2016 17:42:13 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/03/10/469647984/a-war-seen-in-unnerving-close-up?ft=nprml&f=469647984",
"nprImageAgency": "Bleecker Street",
"nprImageCredit": "Keith Bernstein",
"nprStoryId": "469647984",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Mar 2016 17:42:00 -0500",
"path": "/arts/11412346/a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>A War\u003c/em>, a Danish commander whose troops are under attack by the Taliban calls in an air strike, and later has to answer for it in a courtroom. \u003cem>Eye in the Sky\u003c/em> mashes those two narratives together. While a drone pilot in Nevada prepares to hit al-Shabaab terrorists in Nairobi, the morality of this potential action is debated by politicos in London.\u003c/p>\n\u003cp>The movie is both provocative and fairly gripping, if not altogether convincing. As directed by Gavin Hood, a South African whose \u003cem>Rendition\u003c/em> took a broader and more melodramatic look at Western responses to extremist violence, \u003cem>Eye in the Sky\u003c/em> neatly contrasts urgency and hesitation, and pits near-certainty against reasonable doubt.\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/zoBk3e9fFPU'\n title='//www.youtube.com/embed/zoBk3e9fFPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the structure provided by writer Guy Hibbert, whose script essentially interlaces a thriller with a courtroom drama. The story begins with a Muslim family in Kenya and a military officer in Britain. Col. Powell (Helen Mirren) has long tracked a U.K.-born woman who married a Somali man suspected of terrorism and converted to his brand of Islam. The family’s young daughter, Alia (Aisha Tashow), is about to get in the colonel’s way.\u003c/p>\n\u003cp>Powell and her small crew of technicians, no-nonsense except for their unnecessary camouflage uniforms, can’t do the job alone. The American drone operator (Aaron Paul) and other U.S. military personnel are in the electronic loop. Their cooperation becomes essential after the colonel peeks inside a house via bird- and insect-mimicking drones that may be a bit cuter than their real-life equivalents. Powell determines that her targets are about to undertake a suicide bombing, so she wants to kill them first. Only the Yanks have the means to do that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The process quickly gets lawyered up. There’s an attorney to offer cautions at the base where Powell works, and British Lt. Gen. Benson (the late Alan Rickman) heads to a cabinet briefing room to consult with legalistic politicians. Soon, they’ve got the foreign secretary on the video-phone from Singapore. The stalling irritates Powell and Benson (and Rickman was a master of exasperation).\u003c/p>\n\u003cp>The talking heads are physically detached from the situation, but the British have a man on the ground in Kenya, Jama (Somalia-born Barkhad Abdi, who played the pirate leader in \u003cem>Captain Phillips\u003c/em>). He’s assigned to move Alia, who’s selling loaves of bread, away from the house the British want to bomb. That turns out to be tricky, and so chubby-cheeked Alia becomes the human face of possible collateral damage.\u003c/p>\n\u003cp>All the live video provides an intimacy new to missile attacks. The Britons have seen in closeup the innocent girl they might slay. Still, they devote an implausible amount of time to discussing the quandary, and some moments of American reluctance seem even more unlikely. These scenes of ethical and political consideration work more as a filmed theater piece than as realistic cinema.\u003c/p>\n\u003cp>But as its engine the movie has the action in Kenya, where there’s little talk, and all of it is pragmatic. People haggle over bread, unaware of the larger bargain being negotiated across three other continents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eye in the Sky\u003c/em> — like Hood’s previous film, \u003cem>Ender’s Game\u003c/em> — has lots of CGI and green-screen work. But this time the director employs special effects only to show things that could happen, and technology that really exists, in places that haven’t quite caught up to the deadly implications. Those places would include, well, everywhere on Earth.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11412346/a-war-seen-in-unnerving-close-up-from-eye-in-the-sky",
"authors": [
"byline_arts_11412346"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11412351",
"label": "arts_137"
},
"arts_11415041": {
"type": "posts",
"id": "arts_11415041",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11415041",
"score": null,
"sort": [
1458262294000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-the-wulf-of-rock-roll-headrest-music-and-odd-couples-on-stage",
"title": "Cy and David's Picks: The Wulf of Rock & Roll, Headrest Music, and Odd Couples on Stage",
"publishDate": 1458262294,
"format": "standard",
"headTitle": "Cy and David’s Picks: The Wulf of Rock & Roll, Headrest Music, and Odd Couples on Stage | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160318.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lc7Ke9Org9U\u003c/p>\n\u003cp>\u003cstrong>March 18 & 19:\u003c/strong> \u003ca href=\"http://loreenamckennitt.com/\" target=\"_blank\" rel=\"noopener\">Loreena McKennitt\u003c/a> is on a Celtic quest. This Canadian with a gorgeous voice has sold 14 million records over the past 30 years, and she’s touring now with her Celtic super trio featuring guitarist guitarist Brian Hughes ( a fellow Canadian), and cellist Caroline Lavelle (an Englishwoman who used to busk on the streets of London). They’ll be playing songs from \u003cem>Troubadours on the Rhine,\u003c/em> the album they recorded together in 2012. Expect a short movie about McKennitt research on the Celt people, with stops in Morocco and Turkey, and you have to love any pop musician who features poems by Yeats, Shakespeare and Tennyson. She’s at the \u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2078\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center 03/18,\u003c/a> and \u003ca href=\"http://sfmasonic.com/event/loreena-mckennitt/\" target=\"_blank\" rel=\"noopener\">The Masonic in SF 03/19.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11415297\" class=\"wp-caption aligncenter\" style=\"max-width: 705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg\" alt=\"Bill Graham, Marlon Brando, and Francis Ford Coppola\" width=\"705\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg 705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola-400x272.jpg 400w\" sizes=\"(max-width: 705px) 100vw, 705px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, Marlon Brando, and Francis Ford Coppola \u003ccite>(Photo: Courtesy of Bill Graham Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through July 5:\u003c/strong> We know San Francisco’s Bill Graham from his days running the Fillmore and building a concert promotion empire, but it’s good to remember that he just about invented the modern art of presenting great live music, There’s a show now at the \u003ca href=\"http://www.thecjm.org\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> celebrating Graham’s rock and roll career, but also about his complicated life . Some of it’s about how Graham, born Wulf Wolodia Grajonca, escaped Germany and the Nazi’s and came to the US in 1941. There’s lots of photos of Graham with a phone to his ear, plus photos and videos of of rock concerts he produced, and, of course, psychedelic posters, plus a narration by legendary KSAN and now KPFA DJ Bonnie Simmons—who worked for Graham. She told me how Graham really loved creating extraordinarily safe, fun environments for people to come see music “that you might be able to make the experience so comfortable that you had a chance for the artist to do their best work when they walked out on your stage.” Details for \u003cem>Bill Graham and the Rock and Roll Revolution\u003c/em> are \u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415294\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png\" alt=\"American Bach Soloists Co-Founder Jonathan Dimmock\" width=\"600\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ-400x284.png 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Co-Founder Jonathan Dimmock \u003ccite>(Photo: Courtesy of ABS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18: \u003c/strong>Here’s a two-fer: it’s almost Bach’s birthday (March 21), and a chance to celebrate a San Francisco musician who rarely gets to take a bow.\u003cstrong> \u003c/strong>San Francisco Symphony organist Jonathan Dimmock who also happens to be the co-founder of American Bach Soloists will perform a Bach organ recital at St. Mark’s Lutheran Church, featuring the \u003cem>Dorian, Prelude & “Wedge” Fugue in E Minor. Dimmock is working with one of the\u003c/em> Bay Area’s best tracker organs (that means it’s all mechanical, no electric or pneumatic assists), at San Francisco’s St. Marks Lutheran Church. Here’s the \u003ca href=\"http://www.americanbach.org/seasons/15-16/BachBirthday.html\" target=\"_blank\" rel=\"noopener\">details\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415419\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT playing at \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through April 3:\u003c/strong> \u003ca href=\"http://willeno.com/\" target=\"_blank\" rel=\"noopener\">Will Eno\u003c/a> writes weird plays with cracked characters and surreal dialogue. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory\u003c/a> Theater has championed his work in the Bay Area, and they’ve got his news play, \u003cem>The Realistic Jones, \u003c/em>which opened on Broadway in 2014. It’s about two couples, both suffering from an illness “leads to a surreal deterioration of language and communication.” Which sounds like a disturbing challenge for a play. But it stars the great Rod Gnapp and it’s directed by Loretta Greco, who is always very deft with playwrights who ask the big questions, like why are our lives so absurd. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 26-April 3:\u003c/strong> You can also enjoy an Eno mini-fest, by seeing the \u003ca href=\"http://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theatr\u003c/a>e’s version of Eno’s \u003cem>Middletown. Details \u003ca href=\"http://www.custommade.org/middletown/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11415421\" class=\"wp-caption aligncenter\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11415421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg\" alt=\"Steve Wozniak\" width=\"690\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg 690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-400x348.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1920x1669.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-960x835.jpg 960w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18-20: \u003c/strong>This is for the geek in all of us. Imagine the co-founder of Apple Computer, the guy who actually wired the first motherboards, Steve Wozniak, is putting on the \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic-Con\u003c/a>. He’s lured the cast of \u003cem>Back to the Future (\u003c/em>Michael J Fox, Christopher Lloyd, and others), plus Stan Lee and of course William Shatner. Here’s the perfect way to spend an afternoon at the event with your daughter- see a pioneer for African-American women in space, Nichelle Nichols, who played Uhura on Star Trek, and then catch a panel with Kimberly Bryant from Black Girls Code. You could change the world. Details \u003ca href=\"http://svcomiccon.com/?gclid=CJGf3oqptssCFYZefgodSpcNLA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WjnEkJa2Law\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> I think of Will Toledo and his bandmates in \u003cem>Car Seat Headrest \u003c/em>as makers of Lo-Fi art songs. The band takes it’s name from the view Toledo had from the backseat of his car as he recorded songs for an early album. This is a Far Out! item, you’d better grab a ticket to this show before it sells out. And it’s a Cheap Thrill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726788137,
"stats": {
"hasAudio": true,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 923
},
"headData": {
"title": "Cy and David's Picks: The Wulf of Rock & Roll, Headrest Music, and Odd Couples on Stage | KQED",
"description": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: The Wulf of Rock & Roll, Headrest Music, and Odd Couples on Stage",
"datePublished": "2016-03-17T17:51:34-07:00",
"dateModified": "2024-09-19T16:22:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11415041/cy-and-davids-picks-the-wulf-of-rock-roll-headrest-music-and-odd-couples-on-stage",
"audioUrl": "http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160318.mp3",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audioLink",
"attributes": {
"named": {
"src": "http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160318.mp3"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\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/lc7Ke9Org9U'\n title='//www.youtube.com/embed/lc7Ke9Org9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 18 & 19:\u003c/strong> \u003ca href=\"http://loreenamckennitt.com/\" target=\"_blank\" rel=\"noopener\">Loreena McKennitt\u003c/a> is on a Celtic quest. This Canadian with a gorgeous voice has sold 14 million records over the past 30 years, and she’s touring now with her Celtic super trio featuring guitarist guitarist Brian Hughes ( a fellow Canadian), and cellist Caroline Lavelle (an Englishwoman who used to busk on the streets of London). They’ll be playing songs from \u003cem>Troubadours on the Rhine,\u003c/em> the album they recorded together in 2012. Expect a short movie about McKennitt research on the Celt people, with stops in Morocco and Turkey, and you have to love any pop musician who features poems by Yeats, Shakespeare and Tennyson. She’s at the \u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=2078\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center 03/18,\u003c/a> and \u003ca href=\"http://sfmasonic.com/event/loreena-mckennitt/\" target=\"_blank\" rel=\"noopener\">The Masonic in SF 03/19.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11415297\" class=\"wp-caption aligncenter\" style=\"max-width: 705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg\" alt=\"Bill Graham, Marlon Brando, and Francis Ford Coppola\" width=\"705\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola.jpg 705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Bill-Graham-and-Brando-and-Coppola-400x272.jpg 400w\" sizes=\"(max-width: 705px) 100vw, 705px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, Marlon Brando, and Francis Ford Coppola \u003ccite>(Photo: Courtesy of Bill Graham Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through July 5:\u003c/strong> We know San Francisco’s Bill Graham from his days running the Fillmore and building a concert promotion empire, but it’s good to remember that he just about invented the modern art of presenting great live music, There’s a show now at the \u003ca href=\"http://www.thecjm.org\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> celebrating Graham’s rock and roll career, but also about his complicated life . Some of it’s about how Graham, born Wulf Wolodia Grajonca, escaped Germany and the Nazi’s and came to the US in 1941. There’s lots of photos of Graham with a phone to his ear, plus photos and videos of of rock concerts he produced, and, of course, psychedelic posters, plus a narration by legendary KSAN and now KPFA DJ Bonnie Simmons—who worked for Graham. She told me how Graham really loved creating extraordinarily safe, fun environments for people to come see music “that you might be able to make the experience so comfortable that you had a chance for the artist to do their best work when they walked out on your stage.” Details for \u003cem>Bill Graham and the Rock and Roll Revolution\u003c/em> are \u003ca href=\"http://www.thecjm.org/on-view/upcoming/bill-graham-and-the-rock-and-roll-revolution/about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415294\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png\" alt=\"American Bach Soloists Co-Founder Jonathan Dimmock\" width=\"600\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dimmock-and-organ-400x284.png 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Co-Founder Jonathan Dimmock \u003ccite>(Photo: Courtesy of ABS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18: \u003c/strong>Here’s a two-fer: it’s almost Bach’s birthday (March 21), and a chance to celebrate a San Francisco musician who rarely gets to take a bow.\u003cstrong> \u003c/strong>San Francisco Symphony organist Jonathan Dimmock who also happens to be the co-founder of American Bach Soloists will perform a Bach organ recital at St. Mark’s Lutheran Church, featuring the \u003cem>Dorian, Prelude & “Wedge” Fugue in E Minor. Dimmock is working with one of the\u003c/em> Bay Area’s best tracker organs (that means it’s all mechanical, no electric or pneumatic assists), at San Francisco’s St. Marks Lutheran Church. Here’s the \u003ca href=\"http://www.americanbach.org/seasons/15-16/BachBirthday.html\" target=\"_blank\" rel=\"noopener\">details\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11415419\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11415419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Realistic-Joneses-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses at ACT playing at \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through April 3:\u003c/strong> \u003ca href=\"http://willeno.com/\" target=\"_blank\" rel=\"noopener\">Will Eno\u003c/a> writes weird plays with cracked characters and surreal dialogue. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory\u003c/a> Theater has championed his work in the Bay Area, and they’ve got his news play, \u003cem>The Realistic Jones, \u003c/em>which opened on Broadway in 2014. It’s about two couples, both suffering from an illness “leads to a surreal deterioration of language and communication.” Which sounds like a disturbing challenge for a play. But it stars the great Rod Gnapp and it’s directed by Loretta Greco, who is always very deft with playwrights who ask the big questions, like why are our lives so absurd. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 26-April 3:\u003c/strong> You can also enjoy an Eno mini-fest, by seeing the \u003ca href=\"http://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theatr\u003c/a>e’s version of Eno’s \u003cem>Middletown. Details \u003ca href=\"http://www.custommade.org/middletown/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11415421\" class=\"wp-caption aligncenter\" style=\"max-width: 690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11415421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg\" alt=\"Steve Wozniak\" width=\"690\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-690x600.jpg 690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-400x348.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-1920x1669.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Woz-Head-Shot-e1458261678658-960x835.jpg 960w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 18-20: \u003c/strong>This is for the geek in all of us. Imagine the co-founder of Apple Computer, the guy who actually wired the first motherboards, Steve Wozniak, is putting on the \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic-Con\u003c/a>. He’s lured the cast of \u003cem>Back to the Future (\u003c/em>Michael J Fox, Christopher Lloyd, and others), plus Stan Lee and of course William Shatner. Here’s the perfect way to spend an afternoon at the event with your daughter- see a pioneer for African-American women in space, Nichelle Nichols, who played Uhura on Star Trek, and then catch a panel with Kimberly Bryant from Black Girls Code. You could change the world. Details \u003ca href=\"http://svcomiccon.com/?gclid=CJGf3oqptssCFYZefgodSpcNLA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WjnEkJa2Law'\n title='//www.youtube.com/embed/WjnEkJa2Law'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 31:\u003c/strong> I think of Will Toledo and his bandmates in \u003cem>Car Seat Headrest \u003c/em>as makers of Lo-Fi art songs. The band takes it’s name from the view Toledo had from the backseat of his car as he recorded songs for an early album. This is a Far Out! item, you’d better grab a ticket to this show before it sells out. And it’s a Cheap Thrill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11415041/cy-and-davids-picks-the-wulf-of-rock-roll-headrest-music-and-odd-couples-on-stage",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_74",
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_11415424",
"label": "arts"
},
"arts_11403573": {
"type": "posts",
"id": "arts_11403573",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11403573",
"score": null,
"sort": [
1457982030000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1457982030,
"format": "standard",
"title": "It's Not Really 'Cloverfield,' But It's A Lot Of Fun",
"headTitle": "It’s Not Really ‘Cloverfield,’ But It’s A Lot Of Fun | KQED",
"content": "\u003cp>[\u003cem>This is a film it’s very hard to talk about at all without spoiling at least the premise and the basic setup, but this review does its level best not to go beyond that point.\u003c/em>]\u003c/p>\n\u003cp>“What does this have to do with \u003cem>Cloverfield\u003c/em>?”\u003c/p>\n\u003cp>Putting that question out of your mind during \u003cem>10 Cloverfield Lane\u003c/em> is ignoring the elephant in the room, but everything about the film, from its out-of-the-blue viral campaign to its thrilling commitment to misdirection, makes it possible. Some connections eventually emerge, as might be expected from one of producer J.J. Abrams’ puzzlebox narratives, but \u003cem>10 Cloverfield Lane\u003c/em> is not another found-footage \u003cem>War of the Worlds\u003c/em> scenario. And it doesn’t take place in the wide-open spaces of a city under siege, either. For the longest time, it appears that the \u003cem>Cloverfield\u003c/em> franchise is united mainly by the aesthetic principle of offscreen space — not the catchiest hook, but an enormously effective one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yQy-ANhnUpE\u003c/p>\n\u003cp>The obvious reason the two films connect so thinly is that \u003cem>10 Cloverfield Lane\u003c/em> wasn’t originally conceived as a sort-of sequel, but retrofitted like the chainsaw Bruce Campbell attaches to his arm in \u003cem>Evil Dead II\u003c/em>. In sharp contrast to the shaky-cam of Cloverfield, first-time director Dan Trachtenberg gives the opening scenes a classic Hitchcockian quality, nodding specifically to Janet Leigh’s dash out of town in \u003cem>Psycho\u003c/em> and laying on a muscular score (by Bear McCreary) in homage to Bernard Herrmann. Also like Hitchcock, the story takes a decisive turn once a car peels off the road.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That car belongs to Michelle (Mary Elizabeth Winstead), a Louisiana woman who’s first shown hastily packing her things in a suitcase and a box, and rushing out of her apartment, leaving her wedding ring behind. Shortly after an evening pitstop for fuel, Michelle gets in a car accident that sends her careening down an embankment. When she awakens, she finds herself hooked to an IV drip in an unadorned cement bunker with her leg handcuffed to a pipe. Before she can improvise her way out of trouble, her captor comes thundering through the door. His name is Howard (John Goodman), he explains, and contrary to appearances, he saved Michelle from the wreck and is currently protecting her from threats unknown.\u003c/p>\n\u003cp>There’s reason to believe he’s right. Howard claims that after the accident, there was a chemical attack that rendered the air unbreathable, and being the cheerful paranoiac he is, he’d built an underground shelter for just such an occasion. Along with a third resident named Emmett (John Gallagher Jr.), the two of them have enough supplies to wait out the apocalypse for a year or two, when the toxicity has presumably passed. Howard is a disturbing guy who lords over Michelle and Emmett like a belligerent father, but any attempt to escape risks the likelihood of instant death the moment they peek their heads above ground.\u003c/p>\n\u003cp>All this may sound like the set-up to an M. Night Shyamalan twist, and certainly \u003cem>10 Cloverfield Lane\u003c/em> does have the obligation to pay off its \u003cem>Twilight Zone\u003c/em> premise. But Trachtenberg and his screenwriters, Josh Campbell and Matthew Stuecken, take advantage of the shelter’s tight quarters, which contribute to the expected pressure-cooker atmosphere of suspicion and hostility but also open up the punch-drunk comedy of people going mad with boredom. Howard may be a controlling monster, but he’s got a kick-ass jukebox and he’s always up for board games or late-night viewings of \u003cem>Pretty In Pink\u003c/em> on VHS. (Just be sure to compliment him on his spaghetti.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodman’s ability to vacillate between regular-guy jocularity and Biblical fury has made him a Coen brothers favorite since \u003cem>Barton Fink\u003c/em>, and his performance helps modulate the film’s stomach-clenching tonal shifts. But Winstead is every bit as good as the frightened yet resourceful heroine, who has to make difficult decisions about if, when, and how to act, and validate the serpentine logic of the script. Their battle of wills adds a substance to \u003cem>10 Cloverfield Lane\u003c/em> that the improvising ninnies of the original \u003cem>Cloverfield\u003c/em> couldn’t muster, despite its novel perspective on the monster movie. The gimmickry eventually arrives — and, god help us, the Cloverfield “mythology” — but by then, the film has succeeded thoroughly on its own terms.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 761,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705044870,
"excerpt": "Searching for the connection between '10 Cloverfield Lane' and the original 'Cloverfield' is sort of pointless and needless; in the end, the non-sequel stands on its own.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Searching for the connection between '10 Cloverfield Lane' and the original 'Cloverfield' is sort of pointless and needless; in the end, the non-sequel stands on its own.",
"title": "It's Not Really 'Cloverfield,' But It's A Lot Of Fun | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It's Not Really 'Cloverfield,' But It's A Lot Of Fun",
"datePublished": "2016-03-14T12:00:30-07:00",
"dateModified": "2024-01-11T23:34:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "its-not-really-cloverfield-but-its-a-lot-of-fun",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=469650092&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Tobias",
"nprStoryDate": "Thu, 10 Mar 2016 17:00:17 -0500",
"nprLastModifiedDate": "Thu, 10 Mar 2016 17:00:17 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2016/03/10/469650092/its-not-really-cloverfield-but-its-a-lot-of-fun?ft=nprml&f=469650092",
"nprImageAgency": "Courtesy of Paramount Pictures",
"nprImageCredit": "Michele K. Short",
"nprStoryId": "469650092",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Mar 2016 17:00:00 -0500",
"path": "/arts/11403573/its-not-really-cloverfield-but-its-a-lot-of-fun",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[\u003cem>This is a film it’s very hard to talk about at all without spoiling at least the premise and the basic setup, but this review does its level best not to go beyond that point.\u003c/em>]\u003c/p>\n\u003cp>“What does this have to do with \u003cem>Cloverfield\u003c/em>?”\u003c/p>\n\u003cp>Putting that question out of your mind during \u003cem>10 Cloverfield Lane\u003c/em> is ignoring the elephant in the room, but everything about the film, from its out-of-the-blue viral campaign to its thrilling commitment to misdirection, makes it possible. Some connections eventually emerge, as might be expected from one of producer J.J. Abrams’ puzzlebox narratives, but \u003cem>10 Cloverfield Lane\u003c/em> is not another found-footage \u003cem>War of the Worlds\u003c/em> scenario. And it doesn’t take place in the wide-open spaces of a city under siege, either. For the longest time, it appears that the \u003cem>Cloverfield\u003c/em> franchise is united mainly by the aesthetic principle of offscreen space — not the catchiest hook, but an enormously effective one.\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/yQy-ANhnUpE'\n title='//www.youtube.com/embed/yQy-ANhnUpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The obvious reason the two films connect so thinly is that \u003cem>10 Cloverfield Lane\u003c/em> wasn’t originally conceived as a sort-of sequel, but retrofitted like the chainsaw Bruce Campbell attaches to his arm in \u003cem>Evil Dead II\u003c/em>. In sharp contrast to the shaky-cam of Cloverfield, first-time director Dan Trachtenberg gives the opening scenes a classic Hitchcockian quality, nodding specifically to Janet Leigh’s dash out of town in \u003cem>Psycho\u003c/em> and laying on a muscular score (by Bear McCreary) in homage to Bernard Herrmann. Also like Hitchcock, the story takes a decisive turn once a car peels off the road.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That car belongs to Michelle (Mary Elizabeth Winstead), a Louisiana woman who’s first shown hastily packing her things in a suitcase and a box, and rushing out of her apartment, leaving her wedding ring behind. Shortly after an evening pitstop for fuel, Michelle gets in a car accident that sends her careening down an embankment. When she awakens, she finds herself hooked to an IV drip in an unadorned cement bunker with her leg handcuffed to a pipe. Before she can improvise her way out of trouble, her captor comes thundering through the door. His name is Howard (John Goodman), he explains, and contrary to appearances, he saved Michelle from the wreck and is currently protecting her from threats unknown.\u003c/p>\n\u003cp>There’s reason to believe he’s right. Howard claims that after the accident, there was a chemical attack that rendered the air unbreathable, and being the cheerful paranoiac he is, he’d built an underground shelter for just such an occasion. Along with a third resident named Emmett (John Gallagher Jr.), the two of them have enough supplies to wait out the apocalypse for a year or two, when the toxicity has presumably passed. Howard is a disturbing guy who lords over Michelle and Emmett like a belligerent father, but any attempt to escape risks the likelihood of instant death the moment they peek their heads above ground.\u003c/p>\n\u003cp>All this may sound like the set-up to an M. Night Shyamalan twist, and certainly \u003cem>10 Cloverfield Lane\u003c/em> does have the obligation to pay off its \u003cem>Twilight Zone\u003c/em> premise. But Trachtenberg and his screenwriters, Josh Campbell and Matthew Stuecken, take advantage of the shelter’s tight quarters, which contribute to the expected pressure-cooker atmosphere of suspicion and hostility but also open up the punch-drunk comedy of people going mad with boredom. Howard may be a controlling monster, but he’s got a kick-ass jukebox and he’s always up for board games or late-night viewings of \u003cem>Pretty In Pink\u003c/em> on VHS. (Just be sure to compliment him on his spaghetti.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodman’s ability to vacillate between regular-guy jocularity and Biblical fury has made him a Coen brothers favorite since \u003cem>Barton Fink\u003c/em>, and his performance helps modulate the film’s stomach-clenching tonal shifts. But Winstead is every bit as good as the frightened yet resourceful heroine, who has to make difficult decisions about if, when, and how to act, and validate the serpentine logic of the script. Their battle of wills adds a substance to \u003cem>10 Cloverfield Lane\u003c/em> that the improvising ninnies of the original \u003cem>Cloverfield\u003c/em> couldn’t muster, despite its novel perspective on the monster movie. The gimmickry eventually arrives — and, god help us, the Cloverfield “mythology” — but by then, the film has succeeded thoroughly on its own terms.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11403573/its-not-really-cloverfield-but-its-a-lot-of-fun",
"authors": [
"byline_arts_11403573"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11403574",
"label": "arts_137"
},
"arts_11394452": {
"type": "posts",
"id": "arts_11394452",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11394452",
"score": null,
"sort": [
1457812832000
]
},
"guestAuthors": [],
"slug": "estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind",
"title": "Estranged & Desperate: Brother Returns Home in Intimate 'The Fighting Kind'",
"publishDate": 1457812832,
"format": "standard",
"headTitle": "Estranged & Desperate: Brother Returns Home in Intimate ‘The Fighting Kind’ | KQED",
"labelTerm": {},
"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.youtube.com/subscription_center?add_user=filmschoolshorts\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>For Davin (Wayne Roberts), coming back home was never an option. With a desperate need for financial help from his sister, he visits home only to discover that his last living family member may need more help than he does.\u003c/p>\n\u003cdiv>\n\u003cp>\u003cem>STILL: Davin \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/10/estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/10/estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind/\" target=\"_blank\" title=\"Estranged & Desperate: Brother Returns Home in Intimate “The Fighting Kind”\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "For Davin (Wayne Roberts), coming back home was never an option.",
"status": "publish",
"parent": 0,
"modified": 1726704803,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 62
},
"headData": {
"title": "Estranged & Desperate: Brother Returns Home in Intimate 'The Fighting Kind' | KQED",
"description": "For Davin (Wayne Roberts), coming back home was never an option.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Estranged & Desperate: Brother Returns Home in Intimate 'The Fighting Kind'",
"datePublished": "2016-03-12T12:00:32-08:00",
"dateModified": "2024-09-18T17:13:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2016/03/10/estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind/",
"sticky": false,
"path": "/arts/11394452/estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.youtube.com/subscription_center?add_user=filmschoolshorts\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>For Davin (Wayne Roberts), coming back home was never an option. With a desperate need for financial help from his sister, he visits home only to discover that his last living family member may need more help than he does.\u003c/p>\n\u003cdiv>\n\u003cp>\u003cem>STILL: Davin \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/10/estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/10/estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind/\" target=\"_blank\" title=\"Estranged & Desperate: Brother Returns Home in Intimate “The Fighting Kind”\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11394452/estranged-desperate-brother-returns-home-in-intimate-the-fighting-kind",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1118",
"arts_1007"
],
"featImg": "arts_11394934",
"label": "arts"
},
"arts_11394812": {
"type": "posts",
"id": "arts_11394812",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11394812",
"score": null,
"sort": [
1457658312000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-a-tribute-to-david-bowie-the-actor-rockage-5-0-and-luring-younger-audiences",
"title": "Cy and David's Picks: A Tribute to David Bowie the Actor, Rockage 5.0, and Luring Younger Audiences",
"publishDate": 1457658312,
"format": "standard",
"headTitle": "Cy and David’s Picks: A Tribute to David Bowie the Actor, Rockage 5.0, and Luring Younger Audiences | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160311.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11394817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394817\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg\" alt=\"Trumpeter Sean Jones plays music by Miles Davis\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trumpeter Sean Jones plays music by Miles Davis \u003ccite>(Photo: Jimmy Katz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 16:\u003c/strong> Miles Davis recorded one of the classics of cool jazz in 1961 with his album \u003ca href=\"http://jazztimes.com/articles/13776-in-person-friday-night-at-the-blackhawk-complete-miles-davis\" target=\"_blank\" rel=\"noopener\">\u003cem>In Person Live at the Blackhawk\u003c/em>, \u003c/a>once a popular jazz club in the Tenderloin. Now the terrific trumpeter Sean Jones is going to recreate that set. That alone makes this worth a Do List mention, but it’s also the second in a series of concerts under the heading “Pivot New Adventures in the Performing Arts” from \u003ca href=\"http://www.sfperformances.org/index.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances \u003c/a>(SFP). Like so many arts organizations, SFP is trying to lure younger audiences with hipper late night shows in a smaller venue (the \u003ca href=\"http://www.act-sf.org/home/about/rentals/strand_theater/rueff.html\" target=\"_blank\" rel=\"noopener\">Strand Theater’s Rueff Room)\u003c/a>, and at lower prices ($25 for all the Pivot concerts). The lineup for Pivot look fabulous if not all that radical: the \u003ca href=\"http://www.sfperformances.org/performances/1516/KronosQuartet.html\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> plays Friday 03/11, \u003ca href=\"http://www.sfperformances.org/performances/1516/SeanJonesPivot.html\" target=\"_blank\" rel=\"noopener\">Jones plays two shows Wednesday 03/16\u003c/a>, and the polyrhythmic percussionists of \u003ca href=\"http://www.sfperformances.org/performances/1516/ThirdCoastPercussion.html\" target=\"_blank\" rel=\"noopener\">Third Coast Percussion are there Monday March 28.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11394932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg\" alt=\"Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1920x1129.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise.jpg 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge \u003ccite>(Photo: Patrick Berger/ArtComArt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> San Francisco Opera is taking a more ambitious approach to a similar challenge of graying audiences. The Bay Area’s biggest performing arts company is launching its new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab \u003c/a>at the War Memorial Veterans Building. This is a long dreamed of project for outgoing \u003ca href=\"http://sfopera.com/about-us/people/bios/administration/david-gockley/\" target=\"_blank\" rel=\"noopener\">General Director David Gockley\u003c/a>: a 299 seat theater (OMG-the seats have cup holders) perfect for chamber opera, recitals and experimental work. He’s hired opera director Elkhanah Pulitzer to run the place, “You either adapt and change with the times, and what’s viable, or what’s the famous quote? Experiment or die.” The first program is a multi-media collaboration between South African artist William Kentridge, German baritone Matthias Goerne and pianist Markus Hinterhäuser, with Goerne singing Winterreise, Schubert’s song cycle of despair. Details\u003ca href=\"http://sfopera.com/sfoperalab/season-one/winterreise/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lfccDapMA14\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>March 11: \u003c/strong>We didn’t get to say goodby to \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\" rel=\"noopener\">David Bowie \u003c/a>here on The Do List. We loved his music, but also his work as an actor in movies including his film debut in \u003ca href=\"https://en.wikipedia.org/wiki/The_Man_Who_Fell_to_Earth\" target=\"_blank\" rel=\"noopener\">Nicolas Roeg’s \u003cem>The Man Who Fell to Earth\u003c/em> \u003c/a>from 1976. Bowie plays \u003c/span>an alien on earth to find water for his planet, which is dying from a severe drought. Sound familiar? Bowie co-starred with \u003ca href=\"https://en.wikipedia.org/wiki/Candy_Clark\" target=\"_blank\" rel=\"noopener\">Candy Clark,\u003c/a> who’d snagged an Oscar nomination for her work in American Graffiti. Clark will be at the Castro Theater for a screening of the film. Details \u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ha7LSrebuDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> The \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris Dance Group \u003c/a>is bringing one of its finest works to \u003ca href=\"https://calperformances.org/?gclid=CLXRkpKct8sCFYdlfgodWysEIw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances.\u003c/a> Morris’s wonderfully normal looking dancers romp in this evening length performance of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/L%27Allegro,_il_Penseroso_ed_il_Moderato\" target=\"_blank\" rel=\"noopener\">L’Allegro, il Penseroso ed il Moderato,\u003c/a> \u003c/em>an oratorio from Handel, with the poetry of John Milton. It’s colorful, witty, and grand, and the music is played by the Bay Area’s Philharmonia Baroque Orchestra and Chorus. You can’t wrong. Details \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php?gclid=CPeb7MKct8sCFUKUfgodkTULtw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395176\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg\" alt=\"Tokyo Fish Story\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tokyo Fish Story\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now – April 3:\u003c/strong> Food is so popular these days on Bay Area stages. The warm and funny \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Aubergine \u003c/em> runs through March 27th at Berkeley Rep\u003c/a>, and Theatreworks is debuting \u003cem>Tokyo Fish Story\u003c/em>, by \u003ca href=\"http://ma-yitheatre.org/labbies/kimber-lee/\" target=\"_blank\" rel=\"noopener\">Kimber Lee\u003c/a>, a young playwright whose work we haven’t seen in the Bay Area yet. This is about a sushi master and the apprentice who wants to shake things up a bit. Details \u003ca href=\"http://www.theatreworks.org/shows/1516-season/tokyo-fish-story\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg\" alt=\"Rockage's Eric Fanali on the right with two other video game lovers\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rockage’s Eric Fanali on the right with two other video game lovers \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">Rockage\u003c/a> is a perfect festival for Silicon Valley, a part of the world that is so eager for the future, it sometimes fails to honor its nerdy past. Eric Fanali’s little festival offers unlimited retro video game arcade play and indy rock at five venues in San Jose’s SOFA district. Geek out to San Jose’s \u003ca href=\"http://www.supersoulbros.com/\" target=\"_blank\" rel=\"noopener\">Super Soul Bros\u003c/a>, Bit Brigade, \u003ca href=\"https://sweetpeaches.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Sweet Peaches\u003c/a> and other bands, and let your fingers fly on the blaster buttons. Details \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Not enough? David and I have some shoutouts:\u003c/p>\n\u003cp>\u003cstrong>Now through March 20:\u003c/strong> \u003ca href=\"http://caamfest.com/2016/\" target=\"_blank\" rel=\"noopener\">CAAM fest\u003c/a> — the Center For Asian American Media’s annual film and music event continues in San Francisco and Oakland. The festival features lots of small and worthy films- just one highlight the Oscar nominated \u003cem>Sanjay’s Super Team\u003c/em> from Pixar’s Sanjay Patel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 13: \u003c/strong> The \u003ca href=\"http://www.steinwaysociety.com/\" target=\"_blank\" rel=\"noopener\">Steinway Society-The Bay \u003c/a>\u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">Area\u003c/a> presents Haochen Zhang, gold medalist in the 2009 Van Cliburn Competition. He was the first Chinese and the youngest pianist ever to win the Gold Medal. Details \u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726788147,
"stats": {
"hasAudio": true,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 876
},
"headData": {
"title": "Cy and David's Picks: A Tribute to David Bowie the Actor, Rockage 5.0, and Luring Younger Audiences | KQED",
"description": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: A Tribute to David Bowie the Actor, Rockage 5.0, and Luring Younger Audiences",
"datePublished": "2016-03-10T17:05:12-08:00",
"dateModified": "2024-09-19T16:22:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11394812/cy-and-davids-picks-a-tribute-to-david-bowie-the-actor-rockage-5-0-and-luring-younger-audiences",
"audioUrl": "http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160311.mp3",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audioLink",
"attributes": {
"named": {
"src": "http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160311.mp3"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11394817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394817\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg\" alt=\"Trumpeter Sean Jones plays music by Miles Davis\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trumpeter Sean Jones plays music by Miles Davis \u003ccite>(Photo: Jimmy Katz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 16:\u003c/strong> Miles Davis recorded one of the classics of cool jazz in 1961 with his album \u003ca href=\"http://jazztimes.com/articles/13776-in-person-friday-night-at-the-blackhawk-complete-miles-davis\" target=\"_blank\" rel=\"noopener\">\u003cem>In Person Live at the Blackhawk\u003c/em>, \u003c/a>once a popular jazz club in the Tenderloin. Now the terrific trumpeter Sean Jones is going to recreate that set. That alone makes this worth a Do List mention, but it’s also the second in a series of concerts under the heading “Pivot New Adventures in the Performing Arts” from \u003ca href=\"http://www.sfperformances.org/index.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances \u003c/a>(SFP). Like so many arts organizations, SFP is trying to lure younger audiences with hipper late night shows in a smaller venue (the \u003ca href=\"http://www.act-sf.org/home/about/rentals/strand_theater/rueff.html\" target=\"_blank\" rel=\"noopener\">Strand Theater’s Rueff Room)\u003c/a>, and at lower prices ($25 for all the Pivot concerts). The lineup for Pivot look fabulous if not all that radical: the \u003ca href=\"http://www.sfperformances.org/performances/1516/KronosQuartet.html\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> plays Friday 03/11, \u003ca href=\"http://www.sfperformances.org/performances/1516/SeanJonesPivot.html\" target=\"_blank\" rel=\"noopener\">Jones plays two shows Wednesday 03/16\u003c/a>, and the polyrhythmic percussionists of \u003ca href=\"http://www.sfperformances.org/performances/1516/ThirdCoastPercussion.html\" target=\"_blank\" rel=\"noopener\">Third Coast Percussion are there Monday March 28.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11394932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg\" alt=\"Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1920x1129.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise.jpg 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge \u003ccite>(Photo: Patrick Berger/ArtComArt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> San Francisco Opera is taking a more ambitious approach to a similar challenge of graying audiences. The Bay Area’s biggest performing arts company is launching its new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab \u003c/a>at the War Memorial Veterans Building. This is a long dreamed of project for outgoing \u003ca href=\"http://sfopera.com/about-us/people/bios/administration/david-gockley/\" target=\"_blank\" rel=\"noopener\">General Director David Gockley\u003c/a>: a 299 seat theater (OMG-the seats have cup holders) perfect for chamber opera, recitals and experimental work. He’s hired opera director Elkhanah Pulitzer to run the place, “You either adapt and change with the times, and what’s viable, or what’s the famous quote? Experiment or die.” The first program is a multi-media collaboration between South African artist William Kentridge, German baritone Matthias Goerne and pianist Markus Hinterhäuser, with Goerne singing Winterreise, Schubert’s song cycle of despair. Details\u003ca href=\"http://sfopera.com/sfoperalab/season-one/winterreise/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lfccDapMA14'\n title='//www.youtube.com/embed/lfccDapMA14'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>March 11: \u003c/strong>We didn’t get to say goodby to \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\" rel=\"noopener\">David Bowie \u003c/a>here on The Do List. We loved his music, but also his work as an actor in movies including his film debut in \u003ca href=\"https://en.wikipedia.org/wiki/The_Man_Who_Fell_to_Earth\" target=\"_blank\" rel=\"noopener\">Nicolas Roeg’s \u003cem>The Man Who Fell to Earth\u003c/em> \u003c/a>from 1976. Bowie plays \u003c/span>an alien on earth to find water for his planet, which is dying from a severe drought. Sound familiar? Bowie co-starred with \u003ca href=\"https://en.wikipedia.org/wiki/Candy_Clark\" target=\"_blank\" rel=\"noopener\">Candy Clark,\u003c/a> who’d snagged an Oscar nomination for her work in American Graffiti. Clark will be at the Castro Theater for a screening of the film. Details \u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ha7LSrebuDI'\n title='//www.youtube.com/embed/Ha7LSrebuDI'\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>\u003cstrong>March 11-13:\u003c/strong> The \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris Dance Group \u003c/a>is bringing one of its finest works to \u003ca href=\"https://calperformances.org/?gclid=CLXRkpKct8sCFYdlfgodWysEIw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances.\u003c/a> Morris’s wonderfully normal looking dancers romp in this evening length performance of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/L%27Allegro,_il_Penseroso_ed_il_Moderato\" target=\"_blank\" rel=\"noopener\">L’Allegro, il Penseroso ed il Moderato,\u003c/a> \u003c/em>an oratorio from Handel, with the poetry of John Milton. It’s colorful, witty, and grand, and the music is played by the Bay Area’s Philharmonia Baroque Orchestra and Chorus. You can’t wrong. Details \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php?gclid=CPeb7MKct8sCFUKUfgodkTULtw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395176\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg\" alt=\"Tokyo Fish Story\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tokyo Fish Story\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now – April 3:\u003c/strong> Food is so popular these days on Bay Area stages. The warm and funny \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Aubergine \u003c/em> runs through March 27th at Berkeley Rep\u003c/a>, and Theatreworks is debuting \u003cem>Tokyo Fish Story\u003c/em>, by \u003ca href=\"http://ma-yitheatre.org/labbies/kimber-lee/\" target=\"_blank\" rel=\"noopener\">Kimber Lee\u003c/a>, a young playwright whose work we haven’t seen in the Bay Area yet. This is about a sushi master and the apprentice who wants to shake things up a bit. Details \u003ca href=\"http://www.theatreworks.org/shows/1516-season/tokyo-fish-story\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg\" alt=\"Rockage's Eric Fanali on the right with two other video game lovers\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rockage’s Eric Fanali on the right with two other video game lovers \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">Rockage\u003c/a> is a perfect festival for Silicon Valley, a part of the world that is so eager for the future, it sometimes fails to honor its nerdy past. Eric Fanali’s little festival offers unlimited retro video game arcade play and indy rock at five venues in San Jose’s SOFA district. Geek out to San Jose’s \u003ca href=\"http://www.supersoulbros.com/\" target=\"_blank\" rel=\"noopener\">Super Soul Bros\u003c/a>, Bit Brigade, \u003ca href=\"https://sweetpeaches.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Sweet Peaches\u003c/a> and other bands, and let your fingers fly on the blaster buttons. Details \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Not enough? David and I have some shoutouts:\u003c/p>\n\u003cp>\u003cstrong>Now through March 20:\u003c/strong> \u003ca href=\"http://caamfest.com/2016/\" target=\"_blank\" rel=\"noopener\">CAAM fest\u003c/a> — the Center For Asian American Media’s annual film and music event continues in San Francisco and Oakland. The festival features lots of small and worthy films- just one highlight the Oscar nominated \u003cem>Sanjay’s Super Team\u003c/em> from Pixar’s Sanjay Patel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 13: \u003c/strong> The \u003ca href=\"http://www.steinwaysociety.com/\" target=\"_blank\" rel=\"noopener\">Steinway Society-The Bay \u003c/a>\u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">Area\u003c/a> presents Haochen Zhang, gold medalist in the 2009 Van Cliburn Competition. He was the first Chinese and the youngest pianist ever to win the Gold Medal. Details \u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11394812/cy-and-davids-picks-a-tribute-to-david-bowie-the-actor-rockage-5-0-and-luring-younger-audiences",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_74",
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_11238570",
"label": "arts_140"
},
"arts_11395055": {
"type": "posts",
"id": "arts_11395055",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11395055",
"score": null,
"sort": [
1457653675000
]
},
"guestAuthors": [],
"slug": "dr-strangelove-bond-production-designer-adam-dies-at-95",
"title": "'Dr. Strangelove,' Bond Production Designer Ken Adam Dies at 95",
"publishDate": 1457653675,
"format": "standard",
"headTitle": "‘Dr. Strangelove,’ Bond Production Designer Ken Adam Dies at 95 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Sir Ken Adam, the British production designer who gave \u003cem>Dr. Strangelove\u003c/em> its cavernous War Room and James Bond supervillains their futuristic lairs, has died. He was 95.\u003c/p>\n\u003cp>Adam’s death was announced Thursday by the official James Bond Twitter account, run by MGM Studios and Eon Productions. The franchise mourned the passing of “our beloved friend” ”who was so responsible for the visual style of the James Bond films.”\u003c/p>\n\u003cp>The BBC, which first reported Adam’s passing, said he died Thursday at his home in London. “He was a brilliant visualizer of worlds we will never be able to visit ourselves,” Christopher Frayling, Adam’s biographer, told the BBC.\u003c/p>\n\u003cp>The Berlin-born Adam won two Academy Awards in a career that lasted into his 70s and spanned more than 70 films. He was revered for his indelible set artistry, including that for seven Bond movies. Adam was behind the Fort Knox vaults of \u003cem>Goldfinger\u003c/em>, the iconic volcano hideaway of \u003cem>You Only Live Twice\u003c/em> and Bond’s gadget-filled Aston Martin.\u003c/p>\n\u003cp>“One critic asked, ‘How did you ever get inside the volcano?'” Adam told the Los Angeles Times last year. “I didn’t get inside the volcano! I think that is the function of a film designer, to create something which the audience has never seen.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the art of production design, Adam’s work on Stanley Kubrick’s 1964 classic is widely considered among the craft’s highest achievements. His enormous, expressionistic set evoked a bomb shelter with a circular, lamp-lit table in the middle, designed to suggest a poker table. It was here where Peter Sellers famously chastised a tussling Air Force general and Russian ambassador: “Gentlemen, you can’t fight in here. This is the War Room!”\u003c/p>\n\u003cp>Adam was knighted in 2003, a first for a production designer.\u003c/p>\n\u003cp>Born Klaus Hugo Adam in 1921, Adam’s Jewish family fled Nazi Germany in 1934. They settled in London, where Adam became enraptured by German Expressionist films like \u003cem>The Cabinet of Dr. Caligari\u003c/em>. He studied architecture, a background that would later prove useful for production design.\u003c/p>\n\u003cp>He volunteered during World War II and was one of only a handful of German-born pilots to fly for the Royal Air Force. Later, his flying experience would inspire the ejector seat of 007’s Aston Martin.\u003c/p>\n\u003cp>After the war, he was hired to assist veteran designer William Cameron Menzies (\u003cem>Gone With the Wind\u003c/em>) on the Oscar-winning 1956 film \u003cem>Around the World in 80 Days\u003c/em>. Adam caught the eye of producer Albert “Cuddy” Broccoli who, after hiring him for \u003cem>The Trials of Oscar Wilde\u003c/em>, enlisted a reluctant Adam for 1962’s \u003cem>Dr. No\u003c/em>, the first Bond film.\u003c/p>\n\u003cp>Sets created by Adam — like the interior of the British Secret Service headquarters and Dr. No’s base — created a template for the franchise that would follow. He continued to be instrumental in crafting the iconic backdrops, props and torture devices that helped define the Bond world in \u003cem>Goldfinger\u003c/em>, \u003cem>Thunderball\u003c/em>, \u003cem>You Only Live Twice\u003c/em>, \u003cem>Diamonds Are Forever\u003c/em> and” \u003cem>Moonraker\u003c/em>.\u003c/p>\n\u003cp>While Adam’s production design on Bond allowed his fantastical imagination to roam free, working with Kubrick was a more strained process.\u003c/p>\n\u003cp>After \u003cem>Dr. Strangelove\u003c/em>, Adam turned Kubrick down for \u003cem>2001: A Space Odyssey\u003c/em>, but he later reunited with the notoriously perfectionist director on \u003cem>Barry Lyndon\u003c/em>. During shooting in Ireland, Adam was hospitalized because of the stress.\u003c/p>\n\u003cp>“I was incredibly close with him,” Adam told the BBC in 2013. “It was almost like an unhealthy love affair between us. And I had a breakdown eventually.”\u003c/p>\n\u003cp>Still, Adam won his first Oscar in 1976 for \u003cem>Barry Lyndon\u003c/em>, which he shared with Vernon Dixon and Roy Walker. His second came in 1995 for \u003cem>The Madness of King George\u003c/em>, which he shared with Carolyn Scott.\u003c/p>\n\u003cp>Other memorable inventions included the winged automobile of 1968’s \u003cem>Chitty Chitty Bang Bang\u003c/em>, the gothic home of 1993’s \u003cem>Addams Family Values\u003c/em> and the Cold War atmosphere of 1965’s \u003cem>The Ipcress File\u003c/em>.\u003c/p>\n\u003cp>Adam is survived by his wife Maria Letizia, whom he married in 1952.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726710194,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 723
},
"headData": {
"title": "'Dr. Strangelove,' Bond Production Designer Ken Adam Dies at 95 | KQED",
"description": "Sir Ken Adam, the British production designer who gave Dr. Strangelove its cavernous War Room and James Bond supervillains their futuristic lairs, has died. He was 95. Adam's death was announced Thursday by the official James Bond Twitter account, run by MGM Studios and Eon Productions. The franchise mourned the passing of "our beloved friend" ''who was so responsible for the visual style of the James Bond films." The BBC, which first reported Adam's passing, said he died Thursday at his home in London. "He was a brilliant visualizer of worlds we will never be able to visit ourselves," Christopher",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Dr. Strangelove,' Bond Production Designer Ken Adam Dies at 95",
"datePublished": "2016-03-10T15:47:55-08:00",
"dateModified": "2024-09-18T18:43:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"path": "/arts/11395055/dr-strangelove-bond-production-designer-adam-dies-at-95",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sir Ken Adam, the British production designer who gave \u003cem>Dr. Strangelove\u003c/em> its cavernous War Room and James Bond supervillains their futuristic lairs, has died. He was 95.\u003c/p>\n\u003cp>Adam’s death was announced Thursday by the official James Bond Twitter account, run by MGM Studios and Eon Productions. The franchise mourned the passing of “our beloved friend” ”who was so responsible for the visual style of the James Bond films.”\u003c/p>\n\u003cp>The BBC, which first reported Adam’s passing, said he died Thursday at his home in London. “He was a brilliant visualizer of worlds we will never be able to visit ourselves,” Christopher Frayling, Adam’s biographer, told the BBC.\u003c/p>\n\u003cp>The Berlin-born Adam won two Academy Awards in a career that lasted into his 70s and spanned more than 70 films. He was revered for his indelible set artistry, including that for seven Bond movies. Adam was behind the Fort Knox vaults of \u003cem>Goldfinger\u003c/em>, the iconic volcano hideaway of \u003cem>You Only Live Twice\u003c/em> and Bond’s gadget-filled Aston Martin.\u003c/p>\n\u003cp>“One critic asked, ‘How did you ever get inside the volcano?'” Adam told the Los Angeles Times last year. “I didn’t get inside the volcano! I think that is the function of a film designer, to create something which the audience has never seen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the art of production design, Adam’s work on Stanley Kubrick’s 1964 classic is widely considered among the craft’s highest achievements. His enormous, expressionistic set evoked a bomb shelter with a circular, lamp-lit table in the middle, designed to suggest a poker table. It was here where Peter Sellers famously chastised a tussling Air Force general and Russian ambassador: “Gentlemen, you can’t fight in here. This is the War Room!”\u003c/p>\n\u003cp>Adam was knighted in 2003, a first for a production designer.\u003c/p>\n\u003cp>Born Klaus Hugo Adam in 1921, Adam’s Jewish family fled Nazi Germany in 1934. They settled in London, where Adam became enraptured by German Expressionist films like \u003cem>The Cabinet of Dr. Caligari\u003c/em>. He studied architecture, a background that would later prove useful for production design.\u003c/p>\n\u003cp>He volunteered during World War II and was one of only a handful of German-born pilots to fly for the Royal Air Force. Later, his flying experience would inspire the ejector seat of 007’s Aston Martin.\u003c/p>\n\u003cp>After the war, he was hired to assist veteran designer William Cameron Menzies (\u003cem>Gone With the Wind\u003c/em>) on the Oscar-winning 1956 film \u003cem>Around the World in 80 Days\u003c/em>. Adam caught the eye of producer Albert “Cuddy” Broccoli who, after hiring him for \u003cem>The Trials of Oscar Wilde\u003c/em>, enlisted a reluctant Adam for 1962’s \u003cem>Dr. No\u003c/em>, the first Bond film.\u003c/p>\n\u003cp>Sets created by Adam — like the interior of the British Secret Service headquarters and Dr. No’s base — created a template for the franchise that would follow. He continued to be instrumental in crafting the iconic backdrops, props and torture devices that helped define the Bond world in \u003cem>Goldfinger\u003c/em>, \u003cem>Thunderball\u003c/em>, \u003cem>You Only Live Twice\u003c/em>, \u003cem>Diamonds Are Forever\u003c/em> and” \u003cem>Moonraker\u003c/em>.\u003c/p>\n\u003cp>While Adam’s production design on Bond allowed his fantastical imagination to roam free, working with Kubrick was a more strained process.\u003c/p>\n\u003cp>After \u003cem>Dr. Strangelove\u003c/em>, Adam turned Kubrick down for \u003cem>2001: A Space Odyssey\u003c/em>, but he later reunited with the notoriously perfectionist director on \u003cem>Barry Lyndon\u003c/em>. During shooting in Ireland, Adam was hospitalized because of the stress.\u003c/p>\n\u003cp>“I was incredibly close with him,” Adam told the BBC in 2013. “It was almost like an unhealthy love affair between us. And I had a breakdown eventually.”\u003c/p>\n\u003cp>Still, Adam won his first Oscar in 1976 for \u003cem>Barry Lyndon\u003c/em>, which he shared with Vernon Dixon and Roy Walker. His second came in 1995 for \u003cem>The Madness of King George\u003c/em>, which he shared with Carolyn Scott.\u003c/p>\n\u003cp>Other memorable inventions included the winged automobile of 1968’s \u003cem>Chitty Chitty Bang Bang\u003c/em>, the gothic home of 1993’s \u003cem>Addams Family Values\u003c/em> and the Cold War atmosphere of 1965’s \u003cem>The Ipcress File\u003c/em>.\u003c/p>\n\u003cp>Adam is survived by his wife Maria Letizia, whom he married in 1952.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11395055/dr-strangelove-bond-production-designer-adam-dies-at-95",
"authors": [
"byline_arts_11395055"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_1254",
"arts_596",
"arts_1091"
],
"featImg": "arts_11395056",
"label": "arts"
},
"arts_11387523": {
"type": "posts",
"id": "arts_11387523",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11387523",
"score": null,
"sort": [
1457539222000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1457539222,
"format": "standard",
"title": "A Background Artist Comes to the Fore in CAAMFest's 'Tyrus'",
"headTitle": "A Background Artist Comes to the Fore in CAAMFest’s ‘Tyrus’ | KQED",
"content": "\u003cp>In 1919 at the age of 9, the artist Tyrus (Gen Yo) Wong arrived on Angel Island from his village in China. As he matter of factly states in \u003ci>\u003ca href=\"http://caamfest.com/2016/films/tyrus/\" target=\"_blank\" rel=\"noopener\">Tyrus\u003c/a>\u003c/i>, Pamela Tom’s new documentary about his life, “I never saw my mother again.”\u003c/p>\n\u003cp>It’s fitting, then, that Wong would later work on the Disney animated film \u003ci>Bambi\u003c/i> (1942). When the Great Prince of the Forest stoically tells the young buck, “Your mother can’t be with you anymore,” it’s not too much of a leap to see how Wong’s personal history informs the emotional landscape of Bambi’s woodlands. \u003ci>Tyrus\u003c/i>, the opening night film at this year’s \u003ca href=\"http://caamfest.com/2016/\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a>, honors the life and work of the now 105-year-old painter, calligrapher, illustrator and inventor. \u003ci>(Editor’s note: Wong passed away Dec. 30, 2016, at the age of 106.)\u003c/i>\u003c/p>\n\u003cp>Tom’s interest in Wong began almost 20 years ago when she first watched \u003ci>Bambi\u003c/i> with her daughter. During the “making of” documentary at the end of the film, one of the animators made a reference to a Chinese-American artist who was instrumental to the look of the movie. Tom says, “Immediately, my radar went up. Chinese artist, 1930s Disney. I need to find out who this person is, so I tracked him down.” At the end of their first meeting, she’d not only learned about his decades of work as a painter but his career working on Hollywood films like \u003ci>Rebel Without A Cause\u003c/i>. She thought, “Okay, I need to make a film about you.”\u003c/p>\n\u003cfigure id=\"attachment_11387525\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11387525 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Pam_Tyrus.jpg\" alt=\"Tyrus Wong and filmmaker Pamela Tom.\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pam_Tyrus.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pam_Tyrus-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Tyrus Wong and filmmaker Pamela Tom. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly thereafter, she started filming interviews with the then 90-year-old artist. With years of archived material, Tom had to find a way to shape Wong’s struggle to become an artist. For the story she wanted to tell, Tom says, “I felt that it was important for me not just to talk about his art but his experience as a Chinese-American immigrant in this country.” His emigration took place during the era of the \u003ca href=\"http://www.history.com/topics/chinese-exclusion-act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a>, a statue passed by Congress in 1882 that largely suspended Chinese immigration and excluded them from becoming citizens. The act remained in place until 1943.\u003c/p>\n\u003cp>Wong entered the United States by becoming a “\u003ca href=\"https://en.wikipedia.org/wiki/Paper_sons\" target=\"_blank\" rel=\"noopener\">paper son\u003c/a>.” “When the 1906 fire in San Francisco burned all the immigration papers,” Tom says, “a lot of the Chinese immigrants were able to claim that they had these sons that didn’t exist. They sold these papers, and you could purchase them, and you could become a paper son. You entered the country under this false identity. You were pretending to be somebody else.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Tyrus was a survivor,” Tom says. “He understood how to bridge his immigrant experience and the mainstream world.”\u003c/p>\n\u003cfigure id=\"attachment_11387526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11387526 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-800x567.jpg\" alt=\"Tyrus Wong\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyrus Wong. \u003ccite>(Photo: Credit: Irene Poon Andersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Bambi\u003c/i> is the only Disney film featuring Wong’s work, but his drawings influenced the shape, color and composition of every animation artist on the crew. After leaving an indelible mark on a major Disney motion picture, he was fired (for complicated reasons the film clarifies). Coming from an impoverished background, where he was literally starving, he didn’t dwell on it. “It motivated him,” Tom says. “He wanted the American dream. He wanted a family, he wanted a home, and he wanted food on his plate. He wasn’t thinking, ‘Boy, that really dashed my career to become a Disney legend.'”\u003c/p>\n\u003cp>Wong, who trained at the Otis College of Art and Design, found a way to apply his art to greeting cards, ceramics and, much later in his life, the design and fabrication of kites. Tom asked him once what would he have become if not an artist. “A surgeon,” he replied, “because you get to work with your hands.”\u003c/p>\n\u003cp>Tom, who spent years getting to know her subject, says, “Tyrus has to work with his hands all the time: they’re always moving. Tyrus expresses his heart and mind through those beautiful hands.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tyrus’ airs Sept. 8, 2017 on ‘\u003ca href=\"http://www.pbs.org/wnet/americanmasters/tyrus-about-the-film/8917/\" target=\"_blank\" rel=\"noopener\">American Masters\u003c/a>.’ For more information, \u003ca href=\"http://tyruswongthemovie.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 740,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705044904,
"excerpt": "Pamela Tom's new doc profiles Chinese-American artist and illustrator Tyrus Wong and his path from \"paper son\" to 'Bambi' artist to kite-maker. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Pamela Tom's new doc profiles Chinese-American artist and illustrator Tyrus Wong and his path from "paper son" to 'Bambi' artist to kite-maker. ",
"title": "A Background Artist Comes to the Fore in CAAMFest's 'Tyrus' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Background Artist Comes to the Fore in CAAMFest's 'Tyrus'",
"datePublished": "2016-03-09T08:00:22-08:00",
"dateModified": "2024-01-11T23:35:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tyrus-wong-a-background-artist-who-comes-to-the-fore",
"status": "publish",
"sticky": false,
"path": "/arts/11387523/tyrus-wong-a-background-artist-who-comes-to-the-fore",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1919 at the age of 9, the artist Tyrus (Gen Yo) Wong arrived on Angel Island from his village in China. As he matter of factly states in \u003ci>\u003ca href=\"http://caamfest.com/2016/films/tyrus/\" target=\"_blank\" rel=\"noopener\">Tyrus\u003c/a>\u003c/i>, Pamela Tom’s new documentary about his life, “I never saw my mother again.”\u003c/p>\n\u003cp>It’s fitting, then, that Wong would later work on the Disney animated film \u003ci>Bambi\u003c/i> (1942). When the Great Prince of the Forest stoically tells the young buck, “Your mother can’t be with you anymore,” it’s not too much of a leap to see how Wong’s personal history informs the emotional landscape of Bambi’s woodlands. \u003ci>Tyrus\u003c/i>, the opening night film at this year’s \u003ca href=\"http://caamfest.com/2016/\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a>, honors the life and work of the now 105-year-old painter, calligrapher, illustrator and inventor. \u003ci>(Editor’s note: Wong passed away Dec. 30, 2016, at the age of 106.)\u003c/i>\u003c/p>\n\u003cp>Tom’s interest in Wong began almost 20 years ago when she first watched \u003ci>Bambi\u003c/i> with her daughter. During the “making of” documentary at the end of the film, one of the animators made a reference to a Chinese-American artist who was instrumental to the look of the movie. Tom says, “Immediately, my radar went up. Chinese artist, 1930s Disney. I need to find out who this person is, so I tracked him down.” At the end of their first meeting, she’d not only learned about his decades of work as a painter but his career working on Hollywood films like \u003ci>Rebel Without A Cause\u003c/i>. She thought, “Okay, I need to make a film about you.”\u003c/p>\n\u003cfigure id=\"attachment_11387525\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11387525 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Pam_Tyrus.jpg\" alt=\"Tyrus Wong and filmmaker Pamela Tom.\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pam_Tyrus.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pam_Tyrus-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Tyrus Wong and filmmaker Pamela Tom. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly thereafter, she started filming interviews with the then 90-year-old artist. With years of archived material, Tom had to find a way to shape Wong’s struggle to become an artist. For the story she wanted to tell, Tom says, “I felt that it was important for me not just to talk about his art but his experience as a Chinese-American immigrant in this country.” His emigration took place during the era of the \u003ca href=\"http://www.history.com/topics/chinese-exclusion-act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a>, a statue passed by Congress in 1882 that largely suspended Chinese immigration and excluded them from becoming citizens. The act remained in place until 1943.\u003c/p>\n\u003cp>Wong entered the United States by becoming a “\u003ca href=\"https://en.wikipedia.org/wiki/Paper_sons\" target=\"_blank\" rel=\"noopener\">paper son\u003c/a>.” “When the 1906 fire in San Francisco burned all the immigration papers,” Tom says, “a lot of the Chinese immigrants were able to claim that they had these sons that didn’t exist. They sold these papers, and you could purchase them, and you could become a paper son. You entered the country under this false identity. You were pretending to be somebody else.”\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>“Tyrus was a survivor,” Tom says. “He understood how to bridge his immigrant experience and the mainstream world.”\u003c/p>\n\u003cfigure id=\"attachment_11387526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11387526 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-800x567.jpg\" alt=\"Tyrus Wong\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tyrus-Wong-CREDIT-Irene-Poon-Andersen.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyrus Wong. \u003ccite>(Photo: Credit: Irene Poon Andersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Bambi\u003c/i> is the only Disney film featuring Wong’s work, but his drawings influenced the shape, color and composition of every animation artist on the crew. After leaving an indelible mark on a major Disney motion picture, he was fired (for complicated reasons the film clarifies). Coming from an impoverished background, where he was literally starving, he didn’t dwell on it. “It motivated him,” Tom says. “He wanted the American dream. He wanted a family, he wanted a home, and he wanted food on his plate. He wasn’t thinking, ‘Boy, that really dashed my career to become a Disney legend.'”\u003c/p>\n\u003cp>Wong, who trained at the Otis College of Art and Design, found a way to apply his art to greeting cards, ceramics and, much later in his life, the design and fabrication of kites. Tom asked him once what would he have become if not an artist. “A surgeon,” he replied, “because you get to work with your hands.”\u003c/p>\n\u003cp>Tom, who spent years getting to know her subject, says, “Tyrus has to work with his hands all the time: they’re always moving. Tyrus expresses his heart and mind through those beautiful hands.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tyrus’ airs Sept. 8, 2017 on ‘\u003ca href=\"http://www.pbs.org/wnet/americanmasters/tyrus-about-the-film/8917/\" target=\"_blank\" rel=\"noopener\">American Masters\u003c/a>.’ For more information, \u003ca href=\"http://tyruswongthemovie.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11387523/tyrus-wong-a-background-artist-who-comes-to-the-fore",
"authors": [
"42"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596",
"arts_989"
],
"featImg": "arts_11389437",
"label": "arts_140"
},
"arts_11392123": {
"type": "posts",
"id": "arts_11392123",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11392123",
"score": null,
"sort": [
1457530439000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1457530439,
"format": "standard",
"title": "Mis Hijos: Interview with Edoardo De Armas, De Anza College",
"headTitle": "Mis Hijos: Interview with Edoardo De Armas, De Anza College | KQED",
"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>In the intensely personal \u003cem>Mis Hijos, \u003c/em>a father’s poem reaches across borders to resonate deeply abroad. We chatted with Edoardo De Armas about his poetic film, \u003cem>Mis Hijos\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Mis Hijos \u003c/em>will screen as part of \u003ca target=\"_blank\" title=\"Cinequest\" href=\"http://www.cinequest.org/\" rel=\"noopener\">Cinequest’s\u003c/a> \u003cem>\u003ca target=\"_blank\" href=\"http://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=47835~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.VtoPRvkrK70\" rel=\"noopener\">Short Program \u003c/a>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/09/mis-hijos-interview-with-edoardo-de-armas-de-anza-college/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/09/mis-hijos-interview-with-edoardo-de-armas-de-anza-college/\" target=\"_blank\" title=\"Mis Hijos: Interview with Edoardo De Armas, De Anza College\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 62,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705044907,
"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>In the intensely personal \u003cem>Mis Hijos, \u003c/em>a father's poem reaches across borders to resonate deeply abroad. We chatted with Edoardo De Armas about his poetic film, \u003cem>Mis Hijos\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Mis Hijos \u003c/em>will screen as part of \u003ca target=\"_blank\" title=\"Cinequest\" href=\"http://www.cinequest.org/\" rel=\"noopener\">Cinequest's\u003c/a> \u003cem>\u003ca target=\"_blank\" href=\"http://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=47835~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.VtoPRvkrK70\" rel=\"noopener\">Short Program \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/09/mis-hijos-interview-with-edoardo-de-armas-de-anza-college/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Don't forget to subscribe to our YouTube channel!\nIn the intensely personal Mis Hijos, a father's poem reaches across borders to resonate deeply abroad. We chatted with Edoardo De Armas about his poetic film, Mis Hijos.\nMis Hijos will screen as part of Cinequest's Short Program ...read more",
"title": "Mis Hijos: Interview with Edoardo De Armas, De Anza College | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mis Hijos: Interview with Edoardo De Armas, De Anza College",
"datePublished": "2016-03-09T05:33:59-08:00",
"dateModified": "2024-01-11T23:35:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mis-hijos-interview-with-edoardo-de-armas-de-anza-college",
"status": "publish",
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2016/03/09/mis-hijos-interview-with-edoardo-de-armas-de-anza-college/",
"sticky": false,
"path": "/arts/11392123/mis-hijos-interview-with-edoardo-de-armas-de-anza-college",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>In the intensely personal \u003cem>Mis Hijos, \u003c/em>a father’s poem reaches across borders to resonate deeply abroad. We chatted with Edoardo De Armas about his poetic film, \u003cem>Mis Hijos\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Mis Hijos \u003c/em>will screen as part of \u003ca target=\"_blank\" title=\"Cinequest\" href=\"http://www.cinequest.org/\" rel=\"noopener\">Cinequest’s\u003c/a> \u003cem>\u003ca target=\"_blank\" href=\"http://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=47835~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.VtoPRvkrK70\" rel=\"noopener\">Short Program \u003c/a>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/09/mis-hijos-interview-with-edoardo-de-armas-de-anza-college/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/09/mis-hijos-interview-with-edoardo-de-armas-de-anza-college/\" target=\"_blank\" title=\"Mis Hijos: Interview with Edoardo De Armas, De Anza College\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11392123/mis-hijos-interview-with-edoardo-de-armas-de-anza-college",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"featImg": "arts_11392124",
"label": "arts"
},
"arts_11386881": {
"type": "posts",
"id": "arts_11386881",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11386881",
"score": null,
"sort": [
1457350918000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1457350918,
"format": "standard",
"title": "'Prism': Interview with Jackson Miller, Dodge College of Film and Media Arts, Chapman University",
"headTitle": "‘Prism’: Interview with Jackson Miller, Dodge College of Film and Media Arts, Chapman University | KQED",
"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>An ambitious collaboration with VFX artists David Reynolds and Chris Purse, \u003cem>Prism\u003c/em> is a dystopian sci-film about a \u003cem>desaturator\u003c/em>, tasked with sapping beauty from the world in a future where color is used as energy. When his superiors suspect that he may \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/07/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/07/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university/\" target=\"_blank\" title=\"“Prism”: Interview with Jackson Miller, Dodge College of Film and Media Arts, Chapman University\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 63,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705044929,
"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>An ambitious collaboration with VFX artists David Reynolds and Chris Purse, \u003cem>Prism\u003c/em> is a dystopian sci-film about a \u003cem>desaturator\u003c/em>, tasked with sapping beauty from the world in a future where color is used as energy. When his superiors suspect that he may \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/07/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Don't forget to subscribe to our YouTube channel!\nAn ambitious collaboration with VFX artists David Reynolds and Chris Purse, Prism is a dystopian sci-film about a desaturator, tasked with sapping beauty from the world in a future where color is used as energy. When his superiors suspect that he may ...read more",
"title": "'Prism': Interview with Jackson Miller, Dodge College of Film and Media Arts, Chapman University | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Prism': Interview with Jackson Miller, Dodge College of Film and Media Arts, Chapman University",
"datePublished": "2016-03-07T03:41:58-08:00",
"dateModified": "2024-01-11T23:35:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university",
"status": "publish",
"rssmiSourceLink": "http://blogs.kqed.org/filmschoolshorts/2016/03/07/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university/",
"sticky": false,
"path": "/arts/11386881/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>An ambitious collaboration with VFX artists David Reynolds and Chris Purse, \u003cem>Prism\u003c/em> is a dystopian sci-film about a \u003cem>desaturator\u003c/em>, tasked with sapping beauty from the world in a future where color is used as energy. When his superiors suspect that he may \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/07/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/03/07/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university/\" target=\"_blank\" title=\"“Prism”: Interview with Jackson Miller, Dodge College of Film and Media Arts, Chapman University\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11386881/prism-interview-with-jackson-miller-dodge-college-of-film-and-media-arts-chapman-university",
"authors": [
"8652"
],
"categories": [
"arts_74"
],
"featImg": "arts_11386882",
"label": "arts"
},
"trulyca_21": {
"type": "posts",
"id": "trulyca_21",
"meta": {
"index": "posts_1716263798",
"site": "trulyca",
"id": "21",
"score": null,
"sort": [
1457114400000
]
},
"parent": 0,
"labelTerm": {
"site": "trulyca",
"term": 2
},
"blocks": [],
"publishDate": 1457114400,
"format": "video",
"disqusTitle": "de Young",
"title": "de Young",
"headTitle": "Shorts | Truly CA | KQED Arts",
"content": "\u003cp>\u003cem class=\"video_caption\">Watch this entire \u003cstrong>Truly CA\u003c/strong> short film: \u003cstrong>De Young\u003c/strong> by filmmaker Peter Max Lawrence. (Running Time: 12:04)\u003c/em>\u003c/p>\n\u003cp>The experimental documentary \u003cb>de Young\u003c/b> is a portrait of the museum's building in San Francisco. Focusing on the art contained within the grounds as well as the interaction between visitors and the architecture, this film was created by Peter Max Lawrence while working as an artist-in-residence under Ian McDonald during April 2007.\u003c/p>\n\u003cp>The music for this film was composed by pianist David Moore, who has released four albums to date: two for solo piano and two with his ensemble Bing & Ruth. He currently lives and works in Brooklyn, NY.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"disqusIdentifier": "21 http://kqed2.wsmtechs.net/trulyca/de-young/",
"disqusUrl": "https://ww2.kqed.org/trulyca/de-young/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 113,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1537979255,
"excerpt": "View Peter Max Lawrence's short film, \u003cb>de Young\u003c/b>, an experimental portrait of the museum's building in San Francisco.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "View Peter Max Lawrence's short film, de Young, an experimental portrait of the museum's building in San Francisco.",
"title": "de Young | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "de Young",
"datePublished": "2016-03-04T10:00:00-08:00",
"dateModified": "2018-09-26T09:27:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "de-young",
"status": "publish",
"videoEmbed": "https://www.youtube.com/watch?v=WXKmJPez0W8",
"path": "/trulyca/21/de-young",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem class=\"video_caption\">Watch this entire \u003cstrong>Truly CA\u003c/strong> short film: \u003cstrong>De Young\u003c/strong> by filmmaker Peter Max Lawrence. (Running Time: 12:04)\u003c/em>\u003c/p>\n\u003cp>The experimental documentary \u003cb>de Young\u003c/b> is a portrait of the museum's building in San Francisco. Focusing on the art contained within the grounds as well as the interaction between visitors and the architecture, this film was created by Peter Max Lawrence while working as an artist-in-residence under Ian McDonald during April 2007.\u003c/p>\n\u003cp>The music for this film was composed by pianist David Moore, who has released four albums to date: two for solo piano and two with his ensemble Bing & Ruth. He currently lives and works in Brooklyn, NY.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/trulyca/21/de-young",
"authors": [
"8666"
],
"series": [
"trulyca_2"
],
"categories": [
"trulyca_21"
],
"tags": [
"trulyca_422",
"trulyca_86",
"trulyca_702",
"trulyca_220",
"trulyca_90",
"trulyca_498",
"trulyca_696",
"trulyca_698",
"trulyca_699",
"trulyca_700",
"trulyca_701",
"trulyca_695",
"trulyca_60",
"trulyca_505",
"trulyca_697",
"trulyca_82",
"trulyca_99",
"trulyca_28"
],
"collections": [
"trulyca_81",
"trulyca_80"
],
"featImg": "trulyca_2527",
"label": "trulyca_2"
}
},
"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?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 2208,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_11418576",
"arts_11414781",
"arts_11412346",
"arts_11415041",
"arts_11403573",
"arts_11394452",
"arts_11394812",
"arts_11395055",
"arts_11387523",
"arts_11392123",
"arts_11386881",
"trulyca_21"
],
"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_category_movies": {
"isLoading": true
},
"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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_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_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"trulyca_2": {
"type": "terms",
"id": "trulyca_2",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "2",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Shorts",
"description": null,
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Shorts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2,
"slug": "shorts",
"isLoading": false,
"link": "/trulyca/series/shorts"
},
"trulyca_21": {
"type": "terms",
"id": "trulyca_21",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "21",
"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": 21,
"slug": "documentary",
"isLoading": false,
"link": "/trulyca/category/documentary"
},
"trulyca_422": {
"type": "terms",
"id": "trulyca_422",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Architecture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Architecture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 422,
"slug": "architecture",
"isLoading": false,
"link": "/trulyca/tag/architecture"
},
"trulyca_86": {
"type": "terms",
"id": "trulyca_86",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "86",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 86,
"slug": "art",
"isLoading": false,
"link": "/trulyca/tag/art"
},
"trulyca_702": {
"type": "terms",
"id": "trulyca_702",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "702",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art Museum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art Museum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 702,
"slug": "art-museum",
"isLoading": false,
"link": "/trulyca/tag/art-museum"
},
"trulyca_220": {
"type": "terms",
"id": "trulyca_220",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "220",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bay Area",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bay Area Archives | KQED Arts",
"ogDescription": null
},
"ttid": 220,
"slug": "bay-area",
"isLoading": false,
"link": "/trulyca/tag/bay-area"
},
"trulyca_90": {
"type": "terms",
"id": "trulyca_90",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "90",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 90,
"slug": "california",
"isLoading": false,
"link": "/trulyca/tag/california"
},
"trulyca_498": {
"type": "terms",
"id": "trulyca_498",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "498",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California Documentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Documentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 498,
"slug": "california-documentary",
"isLoading": false,
"link": "/trulyca/tag/california-documentary"
},
"trulyca_696": {
"type": "terms",
"id": "trulyca_696",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "696",
"found": true
},
"relationships": {},
"featImg": null,
"name": "David Moore",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "David Moore Archives | KQED Arts",
"ogDescription": null
},
"ttid": 696,
"slug": "david-moore",
"isLoading": false,
"link": "/trulyca/tag/david-moore"
},
"trulyca_698": {
"type": "terms",
"id": "trulyca_698",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "698",
"found": true
},
"relationships": {},
"featImg": null,
"name": "de Young",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "de Young Archives | KQED Arts",
"ogDescription": null
},
"ttid": 698,
"slug": "de-young",
"isLoading": false,
"link": "/trulyca/tag/de-young"
},
"trulyca_699": {
"type": "terms",
"id": "trulyca_699",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "699",
"found": true
},
"relationships": {},
"featImg": null,
"name": "de Young Museum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "de Young Museum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 699,
"slug": "de-young-museum",
"isLoading": false,
"link": "/trulyca/tag/de-young-museum"
},
"trulyca_700": {
"type": "terms",
"id": "trulyca_700",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "700",
"found": true
},
"relationships": {},
"featImg": null,
"name": "FAMSF",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "FAMSF Archives | KQED Arts",
"ogDescription": null
},
"ttid": 700,
"slug": "famsf",
"isLoading": false,
"link": "/trulyca/tag/famsf"
},
"trulyca_701": {
"type": "terms",
"id": "trulyca_701",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "701",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Golden Gate Park",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Golden Gate Park Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "golden-gate-park",
"isLoading": false,
"link": "/trulyca/tag/golden-gate-park"
},
"trulyca_695": {
"type": "terms",
"id": "trulyca_695",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "695",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ian McDonald",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ian McDonald Archives | KQED Arts",
"ogDescription": null
},
"ttid": 695,
"slug": "ian-mcdonald",
"isLoading": false,
"link": "/trulyca/tag/ian-mcdonald"
},
"trulyca_60": {
"type": "terms",
"id": "trulyca_60",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "60",
"found": true
},
"relationships": {},
"featImg": null,
"name": "KQED",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "KQED Archives | KQED Arts",
"ogDescription": null
},
"ttid": 60,
"slug": "kqed",
"isLoading": false,
"link": "/trulyca/tag/kqed"
},
"trulyca_505": {
"type": "terms",
"id": "trulyca_505",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "505",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Past Seasons",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Past Seasons Archives | KQED Arts",
"ogDescription": null
},
"ttid": 505,
"slug": "past-seasons",
"isLoading": false,
"link": "/trulyca/tag/past-seasons"
},
"trulyca_697": {
"type": "terms",
"id": "trulyca_697",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "697",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Peter Max Lawrence",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Peter Max Lawrence Archives | KQED Arts",
"ogDescription": null
},
"ttid": 697,
"slug": "peter-max-lawrence",
"isLoading": false,
"link": "/trulyca/tag/peter-max-lawrence"
},
"trulyca_82": {
"type": "terms",
"id": "trulyca_82",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "82",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 82,
"slug": "san-francisco",
"isLoading": false,
"link": "/trulyca/tag/san-francisco"
},
"trulyca_99": {
"type": "terms",
"id": "trulyca_99",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "99",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Truly CA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Truly CA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 99,
"slug": "truly-ca",
"isLoading": false,
"link": "/trulyca/tag/truly-ca"
},
"trulyca_28": {
"type": "terms",
"id": "trulyca_28",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "28",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Watch Films",
"description": "Looking for more?",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Looking for more?",
"title": "Watch Films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 28,
"slug": "watch-films",
"isLoading": false,
"link": "/trulyca/tag/watch-films"
},
"trulyca_81": {
"type": "terms",
"id": "trulyca_81",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "81",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Documentary",
"description": null,
"taxonomy": "collection",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Documentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 81,
"slug": "documentary",
"isLoading": false,
"link": "/trulyca/collection/documentary"
},
"trulyca_80": {
"type": "terms",
"id": "trulyca_80",
"meta": {
"index": "terms_1716263798",
"site": "trulyca",
"id": "80",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Films",
"description": null,
"taxonomy": "collection",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Films Archives | KQED Arts",
"ogDescription": null
},
"ttid": 80,
"slug": "films",
"isLoading": false,
"link": "/trulyca/collection/films"
}
},
"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
}
}
